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Stuff I wrote for school: (Note: At this time, I can't get the sources up, hopefully, they'll be here soon. Sorry for any inconvenience. If you *must* know where something came from, email me and I can tell you the source)

Little Shop of Horrors: A myth about the beginning of sales tax
Amazing Discoveries: Vignette about who I am
The Audition: Vignette about how others see me
The Guru's Tale: A la Canterbury Tales, a tale of the modern guru
Searching in All the Wrong Places: A non-traditional love story
Turkey Day: On Thanksgiving, let us remember the turkey
How to Write A Research Paper if You're a Paranoid Obsessive-Compulsive Nut: I think this one is self explanatory
The Production of a Play: Again, self-explanatory, I wrote this in my freshman year of high school
The Ideal Woman: A paper about Much Ado About Nothing (Soph. year)
Love Conquers All: A paper comparing the movie Forrest Gump with James Joyce's Portrait of the Artist as a Young Man (Jun. year)
Computer Chips for Lunch: The effect of technology on society (Jun. year)
When Perception Does Not Equal Reality: This was actually my midterm for Ways of Knowing, the Richter seminar
In Pursuit of the Truth: Similarly, this was my final for Ways of Knowing
Savage Inequalities: This one was on Kozol's Savage Inequalities for School and Community
Forbidden Condition: This was my research paper for Intro to American Politics. It challenges the stigmas against mental illness in American society.

Little Shop of Horrors

I am the goddess of shopping. To shop is a great skill; some are born with it, some are not. There have been many horrors in my lifetime. I have dealt with the people who do not like to shop: the impulse buyers, and the eternally unable; the worst horror ever, sales tax.
I will forever fight with the goddess of sales tax. I must apologize for this great inconvenience. I blame myself entirely for this extra burden; my foolishness on that day has cursed people for centuries to carry exact change.

I was young, all but 3,000. My day had begun badly, I had made an impulse buy, the sale at Olympus had ended early, and worst of all, I left my credit cards in the dressing room. Back then credit card bills came every 200 years, it was a glorious time. But there was no light at the end of my tunnel, only dark, dark, darkness; It was worse than paying retail.
I decided to try something unheard of, undone, unthought. I would buy and buy even if I didn't have the money. I had few credit cards, and not much credit on those credit cards. After all I bought the dress, and what's a dress without shoes, shoes are worthless without socks, and socks are trivial without a hat, a hat is obsolete without a necklace, so, you see my dilemma. I bought everything in sight.
Of course the annoying goddess of taxes saw what I had done. She thought I should be adequately punished. She forced me to return everything I bought. They found my credit cards, and one by one cut them into worthless pieces of plastic. Then they forced me to do the worst thing of all. I had to... I can't even say it, I had to get a job. The first Mc Donalds' was opened.
The goddess of sales tax knew how badly I looked in red and yellow, so she made the uniforms red with the little repulsive "M". She felt I hadn't suffered enough, so she made the uniforms polyester. As if I hadn't gone through enough torture, she said from this day forth, people will pay exorbitant sums, and a little more for their clothing, food, and accessories. That little more is now called sales tax.

So you see, it is not entirely my fault, well, yes it is. The tax was kept for all people, and now, bills are paid once a month. Oh how dreadful I feel. So if you ever have an urge to go over your limit, just remember , there is no end to new taxes.

Amazing Discoveries

Contrary to popular belief I am not my brother, I am not my mother, I am not my father, and I am not that daughter, I am me, whoever that is. Many people believe they know me, that's a joke! I don't even know me, at least, not the real me. I know what I wish I was, I know what I wish I wasn't. I wish I were tall and skinny, outgoing, athletic, popular, free spirited, but still firm. I wish I was a singer, or an actress, or something other than me; but wishing doesn't get me anywhere. I am Becca Shrier, although I'm thinking of changing my last name to Berkowitz, my mother's maiden name. Maybe I could change my identity with it, teachers wouldn't "know" me before I entered the room.

I have the privilege of following in the foot steps of the great ones. My father is a good public speaker, my mother's the mathematician/ business woman, my brother is everything, and I am nothing. I'm not an actress, I'm not a singer, I'm definitely not a mathematician. I lay in the expectations of everyone else, supposedly the strong one and the only one who's not completely messed up. Yah, sure, I'll be president some day. I just wish I had an opportunity to make something of myself.

People tell me I'm a good friend, the best. Which might be where I went wrong. No matter what my problem, it always seems less important than everyone else's. I solve their problem, forget about mine, then remember it, just in time for someone else's problem. I always figured, everyone likes them, why not be like them. I attempt to be like "them" only to figure out I'm not them. I am me, I am Rebecca Shrier, maybe someday, I'll figure out who that really is.

The Audition

I am the daughter, I am the sister, I am the sweet heart, I am there. I have always been seen as "the something. " I have never been Becca, or Rebecca, or anything. Most people will first see me as the sweet one. The one who will go to the end of the earth for them if needed. Then I am the annoying one, the one who sticks to them like honey on a bee. After awhile they don't see me as anything, I see me as, the deserted one. I am sick of all these classifications. I am me, and no one else. Somehow over the years I lost who I was. I became what people asked me to be. I became a character in their next movie. They give me a character description and if I fulfilled my description I got the part. If once I didn't fulfill it they re-cast my character to some poor sucker, stupid enough to become their actress. I have been to many auditions before. Most of them put me on a trial basis as their character, then cut me for "that girl over there." Just once I'd like to be "that girl over there, who might just be our friend." Though I regret it now, many times I have been the director, the casting agent, and the one who said "Sorry, you're not what we're looking for." I hope I never do that to anyone again. Maybe some day I will be everything, and they will call me Becca, the friend.

The Guru's Tale

The alarm sounds for the twelfth time at 12:14. It has been ringing every seventeen minutes for the last 3 or so hours. If it were to ring every fifteen minutes it would be caving in to the expectations of society. Were it to ring every 16 minutes, it would say that the world must be even minded, and warped into the closest number to the norm. Therefore Taylor's opted for seventeen minutes. Besides, at seventeen she lost her virginity.

Her attention shifts to the sun-lit painting in the corner. The arched window of her studio apartment represents Taylor's open-spiritedness, yet her neglect to become a whole. Transcendental, Taylor's cat, mews at her side, leaving Taylor with a sensitivity she can never lose. Taylor felt, if she were to purchase a creature without its consent, she would need to clarify this with the animal kingdom. So for three solid days she became a cat and readied her environment for her feline companion. She felt it only appropriate to name her companion "Transcendental" after the experience resulting from the opening of her personal space.

The creaks of the front door leave a chill going up Taylor's spine. She soon realizes that the creaks are a result of her boyfriend entering her aura, her essence, her creative space. Rain, and that's his given name too, removed his beret, thereby freeing his brain from the society's expectations. They cuddled on the futon, resting on the floor. Taylor felt an undescribable feeling in her stomach. Was it the meaning of life? Wait, no, it was hunger. Taylor soon realized her experiment in the reluctancy of feeding her soul had ended. She wanted to reach spiritual enlightenment, so she fasted. Now that the fast was over, she needed nourishment to replenish her soul. She quickly got dressed in her un-confining pants, her home made, patchwork blouse, with three buttons done, and her mules, so as not to harm the oh so precious earth.

Taylor walked to the nearest deli she knew of in down town New York. She walked 1 mile to the Deli Lama, and ordered her usual: A tofu, sprout sandwich on wheat bread, with a spread of the yogurt formed in the bakery. She also ordered a salad with sprouts, and extra lettuce, without the mayonnaise or the pickles. Suddenly, Taylor saw a catastrophe in the making. A tall, slender female with spiked heels 1 inch off the ground flung her polluting cigarette onto the mal nourished cement. Screams rushed through Taylor's head, she was in great fear of her life. Out of no where, a realization as to the location of the screams was apparent. The cigarette but landed on a colony of ants. Their village was burned like the atomic bomb on Hiroshima. Slowly, Taylor's heart began to burn. She could feel her insides deteriorating with the ant colony.

One hour later Taylor woke up, she was in a hospital bed with a view of the missionary next door. Rain was by her side, and she attempted to speak, as if for the first time. Taylor tried to explain the brief encounter she had with death. A dark silence surrounded her, as she felt the dirt become one with her remains. She had a deep understanding of life as it was and she wanted to share her understanding with the world. Rain was feeling a sensation of rage, hurt, and desire. There was no way to control it, he just let it all go. How could Taylor learn the meaning of life before she had touched death. Rain felt the sharing of their auras had been disturbed, the union of their souls was broken. He wondered how he could continue their life together, being that she had reached enlightenment, and he had not. Rain turned red and Taylor became aware that something was very wrong. She could feel the rage burning a new hole in her heart. Taylor felt hurt, and unloved by her soul mate. She knew that she must discuss these feelings with Rain. The compromise made, was that Taylor would teach Rain of her discoveries about life. Rain in return would paint a joint painting with Taylor of the union of their souls.

Realizing the art gallery was still open, Rain had Taylor discharged and the two travelled to the gallery of understanding. The pictures of this gallery were inspiring to the combination of auras, that so recently occurred. Taylor felt that her mission in life was to save the world from destruction of the human brain. In the future she would begin rallies against domestication of dogs and cats. She brought these felines and canines to a large vacant building, allowing them to become one community of fur. To further their understanding of the world, Taylor and Rain moved to the African jungle to live with the inhabitants, and become one with the universe. They realized that in order to become part of the universe, they needed to move to the natural environment of their earliest ancestors.

Searching in All the Wrong Places

One day, in land far far away, there lived girl. Girl was big and strong like bull. CUT

"Alright, I think the setting is quite clear, enough of the pre-grammartarian story." TAKE 2

The girl's mothers would fully disapprove of the girl dating a boy. In her land, girls dated girls and boys dated boys. The girl discovered that she was, somehow, different from everyone else. CUT

"Don't you think it's about time to give the girl a name, I mean, come on, what is she going to be, The Artist Formerly Known as Prince, geeees?" TAKE 3

Uhhhhhhhh, Ummmmmm, CUT

"What's the problem now?"
"We can't think of a good name."
"Oh. . . well . . . how about Gretchen?"
"Does she have a brother named Hansel?"
"Alright, Rapootzel."
"Avoid Grimms Fairy Tales."
"OK. . . how about . . . Othella?"
"Othella, hmmm, nice ring to it, OK, keep going." TAKE 4

Othella knew that she would be forever antagonized for her differences. For much of her childhood, she denied her feelings. As a result, she went through an emotional nightmare throughout adolescence. Othella would date girls superficially, but secretly, she would yearn for the boys across the cave. The educational facility she went to encouraged reproduction, so Othella was forced to learn with the girls. CUT

"Isn't this getting a bit ridiculous! I mean, come on, how radical can you be?"
"Would that not be the point?"
"Oh, yeah, huh, OK." TAKE 5

One day, as Othella was riding her wheel to her educational facility, she saw this iluminous male. Don't look, she thought, as she passed by adoringly. At this point, there was no denying his presence. Suddenly, it occurred to Othella, this boy was looking at her. CUT

"What is it now?"
"The boy", what next, the infamous "they"
"What is your obsession with naming people? Must I name every single character?"
"In fact, yes."
"Alright, how about, Jerome?"
"In the prehistoric period?"
"What do you want to call him, Rocky?"
"That's perfect!" TAKE 6

Rocky had led a similar life to Othella; he yearned to have an outward relationship with a girl. In order to avoid the undoubted jeering of his cavemates, Rocky chose a path of silence. How would he overcome his fears and emotions? On second thought, why should he? MARK IT, SCENE I, THAT'S A RAP

ACT I, SCENE II, TAKE 1!

When Othella saw Rocky, she knew that they were destined to be together. It was at times like these, Othella hated to be a redhead. Redheads were always expected to instigate relationships. Why couldn't she be born a brunette like the rest of the population? CUT

"What on earth is the problem now?"
"Redheads, isn't that a bit extreme?"
"It's symbolism, deal with it."
"Fine, fine, devalue my opinion, see if I care." TAKE 2

In her heart, Othella loved Rocky; in her head, she wished she had never seen him. Was it fate, or was it just that he yelped when someone drove his wheel over Rocky's toe? Whatever it was, for the first time, Othella was in love.

One day, Othella decided to do the unheard of and sneak over to Rocky's cave. Luckily, Rocky was peering out the glass covered hole and saw her. He was in the middle of history class. Somehow, it seemed impossible that a class that short could drag on for that long. CUT

"Yes?!"
"Isn't that a bit degrading to history teachers?"
"Symbolism, Mike, symbolism!" TAKE 3

After history class, Rocky snuck over to a hidden cave off in the distance, he often went there to think. Sure enough, sitting in his groove was Othella. She seemed to light up the desolate darkness. Finally, Othella drew up the courage to ask Rocky if he would like to pursue a relationship. Would they be shunned by their cavemates, or worse yet, their club-bearing guardians? MARK IT, SCENE II, THAT'S A WRAP!

ACT II, SCENE I, TAKE 1!

For the next four months, Rocky and Othella were together every moment they could spare. There was only one catch, no one knew about this. They swore themselves to secrecy. If anyone were to find out about their relationship, Rocky and Othella would likely be crushed by the relentless boulder. (It was too early to be burned at the stake.)

One day, as Othella was sneaking out, her mothers walked in on her. The redheaded mother began screaming and attacking Othella with the club. Her blonde mother spoke softly, and asked Othella where she was going in such haste. Othella tried to come up with a good lie. She thought . . . and thought . . . and thought . . . and thought . . . CUT!

"I've been thinking."
"Yes?"
"Why does swiss cheese have holes in it?"
"Excuse me?"
"Well, first I thought about the "glass covered hole" than I thought about the window I broke earlier this morning, than I thought about the legal charges brought against me . . .Finally, I thought about all the loopholes in the government, which led me to think about the cafeteria I saw at Capitol Hill, which made me go back to the loopholes, and eventually to swiss cheese. "TAKE 2

Othella's mothers vehemently disapproved of Rocky. They said it went against their constitution, the slab on the wall, it was unnatural. Why would two species relate to each other? As far as Othella's mothers were concerned, the whole idea was repulsive. Othella felt at odds with the situation. She never dreamed of parting from Rocky, he was wonderful! Than, out of nowhere, it occurred to her, Othella had a plan. MARK IT, SCENE I, THAT'S A WRAP!

ACT III, SCENE I, TAKE 1!

Othella thought for days about how to remedy the situation with her mothers. The only solution she could come up with was to remove herself from the situation. Immediately upon conceiving this plan, she consulted Rocky for his opinion. He agreed they would need to move to a place that was more open-minded about sexual preference. And so, it was decided, they would move away, but where to? MARK IT, SCENE I, THAT'S A WRAP!

ACT III, SCENE II, TAKE 1!

Though Othella and Rocky agreed on what they should do, tragically, they could not agree on where to go. Rocky thought of a land nearby where people often pondered the meaning of life's mysteries. Othella thought of a place where people tried to reach enlightenment and ponder the affects of mind-expanding drugs. CUT

"Let me guess, you want to know if I have any pot you can have?"
"No . . . although . . . never mind. I was wondering what you wanted to do about Othella's and Rocky's relationship?"
"If you let me finish the scene, I'll tell you!" TAKE 2

Othella and Rocky argued bitterly for days on end. Finally, it was clear, they were not meant to be together. Eventually, Othella moved to a cave where the inhabitants used pretty colors on the walls. She changed her name to Sailor Moonrock, and it is said that she developed the first Moonie cult.

Rocky moved to a cave where he spent his life pondering the possibilities of marketing a pet rock. It is unclear as to whether the two met again in another world. Some say that they moved to the same cave, others say they were reincarnated into John Lennon and Yoko Ono; I guess the world will never know. MARK IT, ACT III, SCENE II, THAT'S A WRAP, PEOPLE!

"So, what did you think?"
"Overall, it was good. . . Except . . ."
"WHAT?!"
"Never mind."

Turkey Day

It is alas time to bid a fond farewell to the days of summer. So long to the days of swimming pools, and barbecues; beaches and campfires. The weather has become far colder, and approaching us is the holiday season filled with celebrations and feasts. One of the greatest feasts that we will endure is the Thanksgiving meal. Many a family will toil over a hot oven, fearlessly preparing a great, big, Butterball™. I ask you all to please observe a moment of silence for this beloved creature.

We often forget the creatures that bravely give their lives so that we can have an elaborate meal, and a refrigerator full of leftovers. These poor, helpless animals, cruelly slaughtered so your grandmother can show off her family's secret stuffing. How many turkeys are forced to give their lives for a holiday feast that they may never enjoy? I ask you, is this slaughter necessary?

I will admit that I have wronged in the past. Many a November eve have I spent passing the yams, sucking on the remaining pieces of dark meat, slaughtering innocent cranberries for my own gain. Those cranberries have done nothing to me. They sat patiently in a can in my cupboard, knowing fair well their fate. I never took a brief moment out of my day to thank the many cranberries before passing the carving knife. I too have wronged.

In an attempt to redeem myself, and to possibly pay the countless reparations to the food pyramid I have so thoughtlessly destroyed, I will hold a memorial service on this Thanksgiving holiday. To all those canned yams and marshmallows, who in bodes of sheer selflessness, allow themselves to be burned under saran wrap, I thank you. To all those nuts, breads, and countless ingredients stuffed into a vast, dark bird, I thank you. To the vegetables and fruits who give their lives for salads untouched, I thank you. And most of all, to the butterball hen in the sky, I thank you. Please, when you take a moment to thank your families for their kindness, and generosity, your friends for enduring many late night conversations, and that one special person who labored over your holiday feast, also thank the turkeys, the fruits, and the vegetables who selflessly give their lives so that you can have a four day weekend. Note: The memorial service will be held on November 27 at 7:00 PM @ the Trader Joes in Menlo Park. All are welcome, if so desired, feel free to prepare a eulogy.

How to Write a Research Paper if You're a Paranoid Obsessive Compulsive Nut

Congratulations, you have just been chosen among our one hundred fifty two thousand, three hundred seventy four finalists to write a research paper. The first thing to do is panic, aaaaaaaaah! Now that this step is out of the way, let us move on to bigger and brighter things. Undoubtedly, you have researched the various ways to write a research paper, have discussed the pros and cons of each, and have made visual charts displaying this information. Though these are all crucial steps, before you plunge into a project, it may be a good idea to find out what your plunging into.

I. Your Topic

I. A. Choosing a Topic

Now that you have worn yourself out, it might be helpful to choose a topic. I'm sorry, your Venn diagrams will not aid you in this process. But hey, if you ever find yourself. . . Well . . . I'm sure you'll need them some time. Most often in choosing a topic, you will have some general guideline such as "Cheeses of the World." This topic may even be elaborated on, for example:

Cheeses of the World
-Russia
-Italy
-France
-Germany
-China
-Texas

When choosing a topic, be sure that the information is readily accessible. No, this does not mean that your boyfriend's cousin's ex-brother-in-law's stepmother's illegitimate son has a book on your topic somewhere in his closet. Oh, and don't worry, it all ties back to Kevin Bacon. Let's say for instance you chose to write about cheeses of Mongolia. You would write a horrible paper, flunk your English class, never graduate, and be sent to Mongolia to learn the real difference between cheddar and jack, aaaaaaaaaaah! Just kidding. You do, however, want to be sure to pick a topic that you are interested in and has a variety of information. Make sure that your topic allows for many options. One such topic would be "Cheeses of France." Now that we have chosen a topic, we can narrow it down just a bit.

Let's review:
*Be sure that the topic you choose has readily accessible information
*Keep your options open
*Choose wisely: Don't pick a topic that sounds more boring than Havannah
*Don't get sent to Mongolia.

I. B. Narrowing your topic down

No doubt you've broken your topic into thirty-seven alphabetized categories. Though 'Amazing Facts About Brie' - 'Zinc's Conspicuous Absence in Cheddar' may sound thrilling, it is doubtful that your reader will find these topics as intriguing. In defining sub-topics, you want to find main focal points such as relationships, origins, and affect on others. Eg: "American Cheese on French Bread, Is this Irony?" "Grilled Cheese and its' French Origins" and "Brie's stunning relationship to post pubescent acne." Be very careful in picking sub-topics. This can be life-threatening if done incorrectly. I know what you're doing . . . right now. . . stop laughing . . . don't try me, Big Brother is always watching.We're ready to move on to the biggest part of the project, the research! <Dun... Dun... Dun>

What we have learned:
*Find the main focal points of your topic
*Look for relationships, origins, and affects on others.
*Keep your sub-topic clear
*Big Brother is always watching.

II. The Research

This is the most instrumental portion of the research paper, hence, the name. There are various steps to your research. The first step is to assess your tools. This does not, however, mean that you should create any charts, graphs, or diagrams. I know this is a difficult step, but resistance is the key to recovery. My course of action is to first check an encyclopedia for information, then proceed to the internet for some external sources, maybe some opinions, most find it necessary to use the library. I have personal prejudices against the library, but please, don't let this altar your views of this poorly organized, overly bureaucratic, never open when you need it, building of misery. Now don't think that I'm pushing my views on you, I'm not, I'm simply expressing my opinion. We're ready to begin.

II. A. Primary source: Encyclopedia

Note: Throughout, 'The Encyclopedia' refers to Groiler's Multimedia Encyclopedia.

Welcome to the wonderful world of research. Let's begin with a brief tour, shall we? You will notice that the encyclopedia is equipped with various tools and search engines. Three main search engines are located at the far left hand edge of the screen. These include: 'Browse,' 'Search,' and 'Mark.'

The Browse menu allows you to search the articles by title. Let's say, for example, that you want to see if they have any articles titled "Cheese in Europe." You would simply type in that phrase, and the browser would take you to the closest match. This is often tedious, and ineffective, your two favorite characteristics.

A more effective way of searching for information would be to go into the Search menu. In this menu, you are able to search the articles by content. The most effective way to do this is to begin with a broader topic such as "Cheese," and to progressively narrow your search down to "Brie". This allows you to view the spectrum of information you have before plunging in to your research.

While you are viewing the articles, you may notice several menus 'Related Media,' 'Related Articles,' and 'Outline.' These menus can be extremely helpful in expanding your research. Related Media will point you to any pictures, movies, sounds, or interactivities related in any way to the article you are viewing. Note that this may not be all of the information in the encyclopedia. Related Articles will direct you to any articles that relate to your topic. Outline is contained in the longer, more complex articles. This feature will give you an outline of the article you are viewing, and by pointing and clicking, will take you directly to the portion of the article you wish to view.

Another handy feature is the Mark menu. In here, you are able to mark articles, and sort them into a list for more convenient viewing. I know it is tempting, but please, don't make a folder for every sub-sub-topic, this is just going to far. It would be a good idea, however, to divide your research into your sub-topics. If this appears to be too much of a hassle, though you don't exactly prove this to be the case, (Venn Diagram, need I say more) You can skip the sorting of this information, and move on to other forms of research.

Oh No, More Lists:
*Assess your tools
*First check the encyclopedia, than the internet, than the library (if you must)
*Take advantage of the browsers/search engines in the encyclopedia
*Resistance is the key to recovery.

II. B. External Sources and Opinions: The Internet

Though it can be overwhelming, the internet is a wonderful place for external sources and opinions. Please note that it may not be a reliable source of information. If it is a "http://www.blahblahblah.com" it is more likely to be a reliable source, but will not always be so. My favorite search engine on the internet is Yahoo. It has clear categories that may guide you in your research. You will undoubtedly find massive opinions when you search the internet. You may even find recipes, nutrition information, or an official site. There are many ways that the articles may be presented. The title may contain the information you want, or the content may include the information you want. The word or words you used in your search are in boldface type, so be on the look out for bold printing.

In doing internet research, it is generally a good idea to begin with a narrow topic, and to keep your searches as focused as possible. If you search "Cheeses" you will most likely end up with four hundred seventy-five thousand, eight hundred fifty-two matches to your search. It is generally best to begin with a search such as "Cheeses France" This will show every article that contains cheeses and France. If you type in "Cheeses" + "France" you will end up with every article containing cheeses or France, so be warned. If you would like more of a guide on searching the internet, check out How to Search the Internet if You're a Paranoid, Obsessive Compulsive Nut.

She's doing it again:
*Use the internet for sources, and opinions, not research
*Search Engines are our friend
*Begin with a narrow topic and keep your searches focused
*There is no need to browse all four hundred seventy-five thousand, eight hundred fifty-two matches to your initial search
*Buy How to Search the Internet if You're a Paranoid, Obsessive-Compulsive Nut

II. C. The Dooméd Place: The Library

We are now ready to go on our trip to the library. Remove your keys from their designated spot next to the front door. Unlock the padlock, now the chain lock, now the dead bolt, now the main lock, open the door, whoops, you forgot to remove the chains first. Now open the screen door following the same procedure. Proceed to your car, and don't worry, no serial killers are hiding in your backseat, don't look! Drive to the library at only the recommended speed-limits of course. Pull slowly into the parking lot, and park as close as you can to the library. Knowing your schedule, you've allotted fifteen minutes of your precious time to do this research. This is a "find now, check later" trip.

Oh, wow, you haven't been here in a while. They have books on the Bush administration, that's new. The best course of action would be to go onto the library's computerized card catalog. Searching by topic would be the most effective way to do this research. Go to the 'Nutrition' section, why on earth they put it next to 'Venereal Diseases' I will never figure out. Take out all the necessary books, proceed to the front of the library, and be ready with your library card. (No, it does not have a Visa logo on it.) Check out these books, grab a U-Haul and be on your way.

Somebody Stop Me!:
*Use the computerized card catalog
*Search by topic
*There is no serial killer in your backseat
*There is no logic in placing 'Nutrition' next to 'Venereal Diseases'

II. D. Organizing the Research

The most effective way to sort your research is to take a big chunk of floor somewhere in your house, I mean occupy, not physically take the floor, and get to work. I would recommend dividing the floor into your subtopics and placing all the necessary information on each designated space. For example, in the area for "American Cheese on French Bread: Is this Irony" You may have articles from the encyclopedia "French Bread," "Cheese" "Waterloo" and "Bastille Day." Also there may be internet articles "The unofficial website for French Bread" "My tribute to cheese" "Brought to you by the makers of Cheese Wiz ™" Some library books may be The Delicious Duchess of Dairy, The Absolutely Best Book of Cheese, and How American Cheese Saved my Life.

Once you have sorted your information into these piles, you may want to sort again within the pile. Classify all the research as either Primary Sources: Fact, External Sources: Opinion, or External Sources: Commentary. Now, we are ready to write the paper!

Please, Hire Some New Writers:
*Find a big chunk of floor space
*Sort into Sub-Topics
*Sort Sub-Topics into Fact, Opinion, and Commentary
*Cheese Wiz™ really is a trademark

III. Writing Your Paper

Now that we've done all this research, we actually have to express individual thought (don't worry, I was only kidding about Big Brother) and write a coherent paper, aaaw nuts! The first thing you want to do is come up with a thesis. Doing this before you write your paper will give you some guidance and purpose. The next step, though completely optional, is to outline your paper. This helps me when I have to write a paper with structure. After all this, you actually write the first draft. Believe it or not, at this point, you're almost done. Be sure that you proofread your first draft. Finally, make all the necessary corrections, and you are done writing your paper!

III. A. Coming Up With a Thesis

Writing a thesis can be the most challenging part of the paper. The first part of this project that involves actual thought, a thesis can scare away many unexperienced writers. Though coming up with a couple of thesis' is a good idea, you needn't make up twenty thesis', write a paper for each one, than evaluate which one is the best. In case you don't know, a thesis is a sentence stating the point you are trying to prove. Make sure that your thesis has clear categories that you can elaborate on in your body paragraphs. Some examples:

1. Though seemingly unimportant, cheese has been an instrumental part of French life in its origins, affect, and relationships to other cultures.

2. In French society, cheese has changed history in everything from its origins, affect, and international relations.

3. The history of France is irrevocably intertwined with the French obsession with cheese and the acquisition of good cheese consuming markets.

Isn't this getting repetitive?:
*Come up with a couple (not twenty) theses (Is it just me, or does that sound dirty?)
*A thesis is a sentence clearly stating the point you are trying to prove
*Make clear categories in your thesis
*Brie and French wine make a great combination

III. B. Outlining

Though outlining is a nightmare for many, including myself, it can be an extremely helpful tool in writing a structured paper. It keeps me from straying from my points, and hey, it's really helpful in case your father doesn't back up your drive and loses your whole paper. (Not that I know how that feels.) Here is a sample outline, for spacial purposes, I'm keeping it brief.

I. Introduction

A. American Cheese on French Bread: Is This Irony?
1. American Cheese originated in France
2. French Bread originated in Greece

B. Grilled Cheese and its French origins

1. First made by Melté Chez in 1873
2. Modified into American Grilled Cheese

C. Brie's Stunning Relationship to Post-Pubescent Acne

1. Has been known to cause hormonal shifts
2. No definite proof that it causes acne

II. American Cheese on French Bread: Is This Irony

A. American Cheese originated in France
1. Made by Louis XIV cook when trying to make an omelette
2. Adapted into American Cheese by French man Impos Toré

B. French Bread originated in Greece

1. Julius Caesar demanded bigger croutons, the rest is history
2. Made into loaves by Frenchman Toumoché Fretime

III. Grilled Cheese and its French Origins

IV. Brie's Stunning Relationship to Post Pubescent Acne

V. Conclusion

Back for more, eh?:
*Optional step
*Helpful in keeping structured
*Good if your father has anything to do with your computer

III. C. Rough Draft, Proofreading, Final Draft

Writing the rough draft should be a snap at this point. Use your research wisely, try and stay on topic, and just get it done! Once you have written your rough draft, be sure that it is proofread. First, read it yourself, try and catch grammatical, structural, and dictional errors. Than give it to someone who is grammatically aware. Finally, give it to someone who will read it for flow, and diction. Make all the necessary corrections, and congratulations, you have just written a research paper!

The Last One: <tear> <tear> <whimper>
*Stay focused on your topic
*Proofread yourself, and have two others proofread it
*Correct it
*Paper cuts are not fatal.

IV. The Rest of It

IV. A. Bibliography, Footnotes, etc.

Each paper is different. There are various requirements that different teachers have. Most all will require a bibliography. For samples, look on the internet, an encyclopedia, wherever you can, one must exist somewhere. As for footnotes, requirements vary from teacher to teacher. I hope you have enjoyed this edition of How To Write A Research Paper if You're a Paranoid Obsessive-Compulsive Nut. Now, get some sleep, you sure deserve it!

The Production of a Play

The final applause is drowning out, and the actors exit the stage for the final time. The stage manager calls the last cue and the last light is turned off. One cannot help looking back on all the work leading up to this night. From the audition to the strike, from the rehearsal room to the theater, every aspect of production is critical. Few know how many people, how much talent, and how much work go into the production of a play. The crew consists of hundreds of people, working to the best of their ability, to make a spectacular production even better.

The first person involved in a production, once the script has been chosen, is the producer. The producer is in charge of raising money for a show. They also must rent the theater and rent a space for auditions and rehearsals. In professional theater they hire the director and oversee everything that is happening. In non-professional theater, the only true concern of the producer is to "Show me the money" (Brockett, P. 388- 389) (Greenberg, P. 16-23 )

The most important part of the crew is the director. A director is in charge of interpreting a script to the best of his/her ability. They also must cast the show, rehearse the actors, and make the final decisions on everything from costumes to programs. For this reason they work in collaboration with the entire cast and crew. To become a director one must have leadership skills, artistic ability, organizational skills, and perseverance. Directing is a full time commitment, and is much harder than it seems. The director must also be thoroughly familiar with the script. They must know the strengths, weaknesses, and problems to be solved. In professional theater the director is chosen by the producer. In non-professional theater the director is either chosen by the playwright (the person who wrote the script) or by a theater company. (Brockett, P. 392-400)

The director has three main conflicts to overcome in a production. The first conflict would be the creation of a stage picture, or the overall look of the show. The most important element of the stage picture is the actors position in relation to the audience. The closer the actor is to the audience, the more noticed they will become. Also the taller the actor the more emphatic they are. To work with this, a director may have an actor sit, stand, or kneel. Another element of the stage picture is the use of costumes, lights, and sets. They may draw attention to or away from an actor. (Brockett, P. 400-404)

The second conflict would be the use of movement, gesture, and business. In order to move, the actor needs motivation. For example, if a phone is ringing, the actors motivation to move would be to pick up the phone. Movement also creates emphasis. A specific movement that was made, will be better remembered than the line that cued it. Gestures are also a major consideration. They usually are made by hands and arms. Gestures are very subtle and often go unnoticed. However, without the gesture, the line may be incomplete. Last but not least is business. Business could be arranging flowers, fixing a pipe, etc. It is something the actor is doing, and it usually involves a prop or part of the set. Most of the business comes from the script and is carefully rehearsed, before being done on stage. (Brockett, P. 403-405)

The third, and final conflict, is the use of voice and speech. The voice can be used to change age, geographic area, time, etc. The voice controls pitch, volume, and quality. Speech is mostly the quality of the voice. Some factors of speech are articulation, pronunciation, inflection, and projection. Articulation is the production of a sound; pronunciation is the selection of sounds.These two can often be confused. Inflection is the indicator of meaning, and projection is audibility, or how well one can be heard. (Brockett, P. 405-408)

Try these exercises:

Say: Aluminum, Linoleum, Aluminum, Linoleum, Aluminum, Linoleum. (Annunciation)

Emphasize the underlined words or letters: (Inflection)

"Where is 21st street" : Just can't find it!
"Where is 21st street": Have found 22nd street, but not 23rd
"Where is 21st street": Not 23rd street, or 22nd street.
"Where is 21st street": Not avenue, not road, but street

There are a few key points that the director must remember when casting a show. It is impossible to make bad acting good, or to change the voice of an actor. It is also impossible to change some physical characteristics, such as height, face, weight, and occasionally age. However, it is possible to make a skinny person fatter, or a young person older, but not vice-a-versa. Casting, or the hiring of actors, can be done in many ways. In professional theater the most common type of casting is open casting. To do this the producer must send Actors Equity (a union for theatrical actors) a list of the roles being cast, with instructions about time and place. They also must devote at least eight hours to the audition. The director would then cast the show as necessary. Another common form of casting is a closed audition. In a closed audition only actors chosen specifically for a role by the director or producer may audition. In non-professional theater the most common form of casting is done by an open audition. Normally, the director will advertise auditions in the newspaper, and to theater companies in the area. Once the type of casting has been decided, the auditions will take place. (Brockett, P. 398)

Now that the show is cast the director must rehearse the actors. This is a very difficult process because of the many factors that are not available at rehearsal. These factors would include: The theater, scenery, costumes, lights, and props. If the theater is not available, the director does not have an exact floor plan, and it becomes hard to block the show. Blocking is the placing of actors based on a line, other actor, costume, etc. It is also impossible to know how loud the actor must speak in order to be heard. The scenery is a major consideration in blocking as well. Without the scenery the actors have to base their movements on things that may not be there. Some of these things could include stairs, trees, lights, etc. Even the best actor cannot improvise stairs. The costumes are a conflict, because it is unknown how much space each actor takes up. For example in period plays, such as Shakespeare, hoops, swords, and elaborate ruffles could be part of a costume. It is very hard to sit down in a hoop, and the actor must find placement for a sword, therefore blocking must be done accordingly. Lighting is not a major factor in blocking, however, if an actor is supposed to enter unseen, it becomes very difficult to improvise. Props are one of the most difficult factors to work around. For example, if an apple must be eaten, the actor must be able to do this and say their lines, which requires a lot of planning. For all these reasons, actors can be paid a lot of money. (Brockett, P. 410-415)

Once the director has rehearsed the actor, his/her job is done. All this work has lead up to opening night and control is handed over to the stage manager, also called the SM. The stage manager in professional theater is very different from the stage manager in non-professional theater. In professional theater the stage manager's first job is to make copies and corrections of a script. S/he is in charge of rewriting as necessary and producing a final copy of the script. The final copy may not be complete until opening night. The stage managers main job in pre production is to isolate, analyze, and record all the elements of production. The most effective way to do this is by creating a prompt book. The prompt book contains every cue, light, and sound used in production. (Gruver, P. 1-4)

The stage manager will also divide the script into five sections called "plots." The five plots are actor, costume, light, sound, and prop. The actor plot shows each of the characters, and which scenes they are in. The actor plot is often combined with the costume plot. The costume plot would show all the quick changes needed, and how quick they must be. A quick change is a change of costume that occurs within seconds or minutes. Sometimes, there is not enough time to get back to the dressing room, so the costume must be changed in the wings (the area directly right and left of the stage). The costumer and the director may not be aware of this, and it is the stage managers job to tell them. The stage manager must also be sure the actor can change in privacy and comfort. (Gruver, P. 5 )

The lighting plot is the most unstable plot in pre-production. It often changes every ten minutes. However it is still very important, but often not of great concern to the stage manager. The sound plot is similar to the light plot. It does not greatly concern the stage manager until the show is in the final stages of rehearsal. Last but not least, is the prop plot. This lists every prop, and eventually, when it will be used. S/he will also make a master cue sheet. This sheet lists every cue from lighting, to sound, to costume. (Gruver, P. 6)

Another concern is the sound. What are the effects needed? What equipment is necessary for those effects? There also needs to be a speaker from the stage to the dressing room, and clear-coms for all the ASM's. A clear com is a headset with a microphone used to communicate backstage. Clear coms are usually portable and very effective in communication during the production. (Gruver, P. 19)

In pre-production one of the first jobs is to help in casting. The SM makes a cast list including the character, actor, understudy, and alternates. S/he also make the actors file. The file is a card that includes the actors name, address, and phone number; The actors agent; Experience; Part to be considered for, parts to understudy, etc. Now it is time for rehearsals. (Gruver, P. 20-21)

The next duty of the stage manager is to hire an assistant stage manager, also called the ASM. This must be a person the stage manager can trust with the production if s/he is unable to be there. The ASM must be qualified, alert, and able to take on any responsibility. S/he has many responsibilities. The first is of the actors. The ASM checks the attendance, checks entrances and exits, and make sure the actor is immediately available. Next are prop considerations. The props must be put onto a marked prop table, and replacement props must be available during rehearsals. A good stage manager tells the ASM everything , from the change of a prop to the editing of a light cue. (Gruver, P. 17, P. 41)

The next job of the SM is to prepare the rehearsal space. Once this room is a permanent rehearsal area, the floor can be marked as necessary. However, the room is not always permanent. If this is the case, the SM may arrange to lay down a ground cloth, tack it to the floor and mark it as needed. This way, the layout can be easily moved as rehearsal spaces change. The SM must hire stage hands to do this, because unfortunately, theater is a bureaucracy as well. Once this is done the SM makes a roster of every one involved in the production. The roster would include the names, addresses, phone numbers, and positions of each person. Once the rehearsal space is ready, rehearsals will begin. During rehearsal the stage manager is the time keeper.S/he makes sure all appointments are met, and no actor stays at rehearsal longer than necessary. (Gruver P. 18-20)

The first weeks of rehearsal the SM has a lot to do. S/he begins with taking notes. The notes are for the crew opposed to the cast. A typical note could be for the director saying: "The costumes have arrived, 2:00 appointment with Jerry," etc. The next task is to record stage directions. This means any time an actor moves as directed, the SM will put it in the prompt book. They will do this up to the final rehearsals. (Gruver, P. 39- 52)

The final weeks of rehearsal are the tech rehearsals, and dress rehearsals. The tech rehearsal looks over all the elements of production. The lighting design is made, the lights are hung, and the cues are programmed into the lighting board. Every lighting board is different, yet they all serve the same purpose. Each board has the capability to program the lights into cues that can be used many times for productions. The sound is also revised, as needed. For example a cue may be added if a dog barks, a phone rings etc. Finally the costumes are given the last revisions. In the dress rehearsal the show is performed in as close to real conditions as possible. The only difference between the tech rehearsal and the dress rehearsal is that the tech rehearsal focuses on mechanics, wherein the dress rehearsal focuses on the acting. (Gruver P. 78- 84)

At last it is opening night for the stage manager. They are now given complete control of the production and work to the best of their ability. Their first job is to give a "places call." This tells the actors how long they have until opening curtain. These are given every ten minutes up to the final call. The final call means that the house has been opened and the curtain will rise any minute. The next job of the SM is to call all the cues. These would include: light, sound, and actor's. Last but not least the SM will rehearse the understudies during the run of the show. In this case they "play" director for the run. (Gruver, P. 85-93)

In non- professional theater, the SM is usually hired a week or so into rehearsals. S/he looks over rehearsals and take the same job as that of an SM in professional theater. His/her job starts mostly at the tech rehearsals and continues through closing night. (Tanner, Alyca, Feb 18, 1997)

There are in fact many more parts of the crew. One part includes the designers. Specifically, the set, light, sound, and costume designers. The set designer is a talented artist who is responsible for the physical scene. S/he has many decisions to make, and many people to consult on these decisions . The first of these decisions is whether to have an elaborate set, or a plain black backdrop. S/he also must decide whether to have one set or two sets. If s/he is dealing with a stationary stage and wants many sets, s/he must decide how to accomplish this. If they have a rotating stage it becomes much easier to do. This way, they can build a set back to back in order to accommodate their desires. The other factor that goes into these decisions is the money. If there is a very small limited budget, they want to keep the set as simple as possible, while still creating the desired effect. (Greenberg, P. 120-121)

The steps to building a set are relatively simple, compared to that of other designers. The first step is to make a sketch of the expected set. Once the sketches have been approved the designer makes a three dimensional model and draws up blue prints. When the final plan is ready, the set designer must find a shop to build it in. Once the shop is found, the set is built, and voila, we have a set. (Greenberg, P. 120-121)

The next designer is the lighting designer. S/he decide which light will be used, what level it will be used at and where it will be placed. S/he must work very closely with the director and cannot work until the theater is available and the script is ready. The reason s/he works with the director is that if an actor is supposed to be in one place and a light is put there, the actor cannot move. If the actor does move, all the lights must be re-programmed as necessary, and sometimes the designer has to start again. Light can create mood, effect, age, time of day, and give an overall feeling to a scene. Theatrical lighting is very different from movie or television lighting. In theater the lights must be set in one continuous flow. Each cue must coincide with the preceding cue, and must light the stage as needed. In movies and television, each scene is lit individually. The sound designer is a relatively easy job. All s/he must do is obtain the sound effects needed, and occasionally some music. (Greenberg, P. 122-123) (Wilhelm, Dale, Apr. 4, 1997)

The last of the designers is the costume designer. The costume designer must either rent, buy, make, or borrow the costumes. S/he must know and understand the color, fabric, and on-stage movements of the costume. One major consideration is to quick changes. The costume must be rigged so that it is easy to maintain and easy to rip off. This can be done with velcro, snaps, etc. During the run, the designer is in charge of making repairs on costumes and cleaning them periodically. (Greenberg, P. 121-122) (Newport, Leslie, May 18, 1997)

The last part of the crew includes the house manager, box office manager and usher. The house manager is in charge of cleaning the house, the place where the audience views the production. S/he is also in charge of maintaining the seats.

His/her last job is to run the concession stand. In other words they provide the coffee, and candy that keep you awake on those long nights. The box office manager sells the tickets, and keeps records on the money raised by ticket sales. The usher seats people and tells them where to find the rest rooms, lobby, etc. (Rosen, Pam, May 2, 1997)

Last but certainly not least are the actors. The actors are in charge of interpreting the script on stage. They are the only ones the audience will see. It is the actor that will make a character live and breathe. A good actor is able to embody and project a role, regardless of the actors own feelings. There are a few components that create a good actor. S/he must be have natural ability, study, and practice. The actor can depend on the body, voice, the role, and the stage environment in order to create the maximum performance. (Brockett, P. 420-422)

The body should be flexible, disciplined and expressive. The flexibility is needed for physical characteristics, traits, and reactions. In order to achieve the above goals some actors take courses in stage movement, dancing, fencing and gymnastics. The voice is the principle communication between the actor and the audience. In order to get the maximum from their voice, the actor must understand how it works. S/he should learn to control pitch, breathing, variety, and audibility. It takes many years to fully develop one's voice. The training is well worth it, for even if acting is not a full time career, vocal training is helpful in any job. (Brockett, P. 421-422)

To become a brilliant actor a few basic things should be done. First, one should learn how to analyze plays. S/he should know the function of each character, and the motives of each scene. An actor should also understand every aspect of production from the lights to the props. Once an actor has reached these goals they can focus on creating the role. (Brockett, P. 427)

The first step is to analyze the role. S/he should understand what the playwright reveals about the physical and emotional makeup; profession; social and economic status; family; attitudes; likes; and dislikes of a character. The actor should learn to emphasize the most important of these characteristics. The next step is to invent the character. This involves reconstructing the life of a character prior to the beginning of the play. In doing this, one must be sure not to invent anything that would contradict the script. The next step would be to define the goals of the character. In doing this, the actor would want to isolate each scene, and figure out the motives of the character in each scene. Next the actor should study the relationships of actors to other actors. S/he must realize how their character is viewed by other characters, and vice-a-versa. The last step is to see how the character relates to the play structure. The actor must see how their character affects the lives of the other characters and how the script would change without their character. To create the role, the actor must prepare to become a new person, both emotionally and physically. In order to prepare emotionally, the actor must learn about the character. To do this, they should observe similar people and situations, to create one character. Physical preparation involves makeup, hair, and costumes. Most of this is done within a week of production. (Brockett, P. 427-429)

Next the actor should focus on movements and gestures. Each movement should feel justified. There should be a motivation to get up and sit on a chair, there should be a reason to walk to the table, etc. One major part of movement is developing a walk, posture, and bodily attitude for a character. Once the movement has been created the physical characteristics should be considered. There are two levels at which these characteristics might be evaluated. The first level deals with the physical attributes such as hair, height, age, or weight. The second level deals with the skill of choosing the appropriate movements for any given time.To do this, the actor may think of the play with no words. What movements are necessary to express the same idea? Most of these movements are discarded when the words are added, however, they are still helpful in interpretation. (Brockett, P. 430-431)

Vocal characterization is also a key factor in creating the role. In casting, the director will normally hire an actor who already has the vocal qualities needed for a role. The voice clarifies ideas and emotions. When the volume, pitch, or quality of the voice change the feeling of a line changes as well. Now that the role has been created the work is done. (Brockett, P. 431)

The other part of the cast are the understudies and alternates. The main difference between an understudy and an alternate is that the understudy must attend every rehearsal and every production. S/he must be ready to perform at a moments notice, and very often, will never get that chance. An alternate is only required to be at a rehearsal or production if they are called. Normally s/he is given rehearsal time and preparation for a role. (Brockett, P. 337-340)

Surprisingly enough the above people are not the only parts of the cast and crew. There are many un-named crew members, add ins, and assistants that have equally challenging roles to fulfill. The production of a play is an ensemble effort. Nothing could be done without everyone's support. Everyone is on the same playing field. No one person is more important than the other. Equality is key in maintaining perfection.

The process of production remains the same in every theater. The first step is the audition, then comes the rehearsal period, followed by the run, ending with strike. Of course every aspect of production ties into this process. Let's start with the very beginning.

Once the director has been hired the auditions will take place. There is a general format that most auditions go by. First all interested actors will audition. Normally they prepare and perform a monologue. Then, the director may ask some questions regarding experience, motivation, or why the actor is auditioning. If the director likes the actor they will make note of it, and continue. Once all the actors have been seen, there is a call back. The call back is the time when the actors the director liked audition again. During the call back, usually a cold reading is done. This means that the actor will take the script and read it without having rehearsed what they are reading. Once this is done, the director will make the final casting decisions. (Rosen, Pam, May 19, 1997)

Now that we have a cast we can rehearse. The rehearsals are run by the director and stage manager. The purpose of the rehearsal is to prepare the production before opening night. In the first stages of rehearsals there are no costumes, lights, scenery, props, or sounds. The only thing available is a floor plan, furniture, and a select few props. The type of props aloud in rehearsal are the ones that require great amounts of practice such as, wrapping a package, or serving tea. Some more conflicts in rehearsals are projection levels. The actor cannot know how loud s/he must be in order to be heard well. Therefore one can only hope to have the theater for a long period of time. (Brockett, P. 410-415)

The rehearsal is divided into phases. These phases are based on objectives and goals. The first phase is reading analyzing and understanding the script. This is usually done before the rehearsal space has been provided. The second phase is the blocking. Blocking is the placing of actors based on other actors, lines, scenery, etc. It is usually done scene by scene and is the longest phase. This phase usually lasts four to six weeks. The fourth phase is timing, or realizing how long the show will be non stop. The fifth phase combines all the aspects of production including makeup, hair, costumes, lights, props, sets, sounds, music, etc. Most of the changes are made during this phase. (Brockett, P. 410-415)

The last phases are the technical and dress rehearsals. In these phases the scene changes are worked out, lighting and sound cues are developed, costume changes are created, and the music and props are present. The dress rehearsals are two to three days before opening night and are mainly concerned with timing and acting. The final acting notes are given and the actors prepare for opening night. It is a rule that there are no rehearsals after opening night. However, this rule can be broken in special circumstances. One circumstance is a pick up rehearsal. These are given when there are breaks in between two performances. The other circumstance is rehearsing understudies. This is always done by the stage manager, and does not occur more than once a week. (Tanner, Alyca, February 18, 1997)

Finally, opening night has approached us. The director hands over control to the stage manager and the actors nervously prepare for their first performance. The box office is over crowded with programs, tickets, fliers, etc. The house manager prepares for the load of people demanding coffee and soda. The usher awaits a long night, and hopes that dealing with rude people is not a part of that night. The lighting and sound crews give a final check of the equipment. The last places call is given, and the house lights go to half. House out and curtain goes up. (Cast of Much Ado About Nothing, May 24, 1997)

It is now one month later. Most shows prepare their closing night and force as much caffeine into their systems as humanly possible. The final call is given, the curtain goes up for the last time. <Tear> <tear> <sob> <sob>. The last performance is given, and the final applause are drowning out. The cast hurriedly removes their costumes and prepares for strike. Strike is when the set is taken apart, props are distributed to their owners, the dressing rooms are cleaned out, and the final goodbye's are made. At least we have the cast party! (Cast of Much Ado About Nothing, May 24, 1997)

Wow! It is unbelievable that all this work, often with no reward, can be so fulfilling. One would be amazed at how great it feels to know that you are providing entertainment, and maybe making someone's day a little brighter. Many people have asked me why I do theater. This is why! I love it, I love the acting, the directing, the fun, and all the work that goes into making a production great! Yes I love theater, and I always will.

The Ideal Woman

Is there an ideal woman of the 90's? How much has really changed in our society? Since the Renaissance, women's role in society has changed, although the perception of women has not. To this day, women are seen as objects of love and desire. In William Shakespeare's Much Ado About Nothing, women are viewed from many angles. Should women be strong or passive, delicate or capable? This poses the question, what is the ideal woman?

The prosperity experienced in England, during the reign of Elizabeth I, was the foundation of English culture. The money surplus, created by the robust English economy, allowed for the growth of literature, art, and theater. Money was made by being successful in art or banking. Throughout the Renaissance, women were expected to inspire art, not to create it. For this reason, few women became rich and famous. The arts were also supported by a stable government. The stability of the Tudor dynasty allowed for creativity. When one feels safe in one's work, work is produced better.

One such success, was William Shakespeare. Shakespeare was a man of great intellect. Though he was only educated as far as grammar school, he wrote some of the most well known literary works in the history of the English language. Macbeth, Hamlet, and Romeo & Juliet are among the world's most frequently performed and studied plays. Shakespeare's works have been translated into almost every language known. His undying wit, paired with his ability to hold one's emotions in his hand, makes Shakespeare the most widely read playwright in history.

At the age of 18, William married Anne Hathaway, then 26, and had three children, Susanna, Hamnet, and Judith. Hamnet died as a child leaving William the only man in a house full of women. Oddly enough, Shakespeare spent little time at home while his daughters were growing up. Perhaps he left to avoid spending time with women. Shakespeare seemed to prefer the company of men.

Among his many talents, Shakespeare was also an actor. With friend and comedian Will Kempe, and tragedian, Richard Burbage, the Lord Chamberlain's Men were formed. Later called the King's Men, this acting troupe performed all over England. They earned their new name by repeated performances for King James I. After writing 150 sonnets, Shakespeare returned to theater and wrote Much Ado About Nothing in 1599. Shakespeare built the Globe Theater in 1599 solely for this acting troupe . One of the greatest playwrights of our time, William Shakespeare died April 23, 1616, buried in the church in which he was baptized.

During the Elizabethan Renaissance, literacy rose to an all time high. Private education, known as public in the US, became available to all. Opposed to ignoring children, as done in the past, the people of the English Renaissance educated their children. This lead to the introduction of the vernacular. Literature was available in one's native language. With a higher education, there was far more pressure to succeed. With all this pressure, the concern for the individual developed.

The first ideas of fame and fortune, since the Dark Ages were in the Renaissance. Many dreamed of becoming celebrated artists or artisans. Many failed, many succeeded. Some well known successes include, Da Vinci, Michelangelo, Raphael, and the beloved William Shakespeare. The concern for the individual didn't stop with the famous, however. The common man was encouraged to be an individual as well. Men and women were seen as people. Love grew and flirting began. A woman could no longer depend on her parents to marry her off. She had to display wit, charm, and grace. The Courier says this about the ideal woman, "Women are expected to know the classics, to write well, to paint, to make music, to dance, and to be charming. They should inspire, rather than create art." [Castiglione 349]

Much Ado About Nothing contains four central characters, Beatrice, Benedick, Hero, and Claudio. Beatrice and Benedick are almost the same character, their only difference is their gender. Beatrice is strong willed, witty, intelligent, and independent. She is the polar opposite of the ideal woman. Though she has a strong personality, her purpose in the story is the same as Hero's, to get married. If Beatrice had her way, she would be single forever. Her uncle doesn't agree with this decision. "By my troth, niece, thou wilt never find thee a husband if thou be so shrewd of thy tongue." [Shakespeare 110]. This implies that Beatrice is only capable of becoming a wife and mother. She doesn't want to be seen as an object of love, but as a person. Beatrice says the following after hearing rumors of Hero's affair with Borachio, "O that I were a man! What bear her in hand until they come to take hands, and then with public accusation, uncovered slander, unmitigated rancour- O G-d that I were a man! I would eat his heart in the market place" [Shakespeare 184] Beatrice is held back by her gender. She says she can't fight because she is a woman, she can't express disdain, because she is a woman, and she is incapable of mature love, because she is a woman.

Benedick has a personality almost identical to Beatrice. This accounts for the love and hate in their relationship. Benedick expresses his disdain for marriage and love. He is more of a one-night-stand, than marriage material. Benedick says the following in a conversation with Claudio, "That a woman conceived me, I thank her: that she brought me up, I likewise give her most humble thanks: but that I will have a recheat winded in my forehead, or hang my bugle in an invisible baldrick, all women shall pardon me. Because I will not do them the wrong to mistrust any, I will do myself the right to trust none: and the fine is, for which I may go the finer, I will live a bachelor." [Shakespeare 99] From this quote, Benedick appears to be a sexist, yet typical man of the Renaissance. However, he's not. He is simply saying that he can't deal with women, in the same way that women say they can't stand men. It's the mutual love-hate relationship. When Benedick says he wants to remain a bachelor, he is laughed at, but not taken seriously. When Beatrice says she wants to remain un-married, she is pressured into changing her mind, for fear of being an old maid.This double standard is one of many in the Renaissance, and the present. Benedick and Beatrice are often the favorite characters in Much Ado About Nothing, mainly because they refuse to cave in to society's expectations of them. Their wit, passion, and will, make them fully developed, rich characters.

Hero and Claudio have entirely different characteristics from Beatrice and Benedick. Hero is a beautiful woman. However, her beauty is her only quality. Though she's not stupid, she never thinks for herself. She is used for her beauty, and will be tossed out when she is old. Claudio controls her thoughts and feelings, if he is angry at her, she feels worthless, if he is in love with her, she feels wanted. Hero fits the mold of an ideal woman. She is seen but not heard, she will inspire, but not create. The main flaw in this ideal woman, is that once she has lost her beauty, she is worthless. This idea keeps women repressed, and yet again allows the man to conquer the world, while his wife takes care of the children.

Claudio is also seen for his beauty. His redeeming qualities are that he is handsome, young, and vulnerable. I found it difficult to identify with Claudio. He seemed to be a shell with nothing inside. Claudio is also easily swayed. In the scene in which Don John attempts to convince Claudio Hero has been having an affair, Claudio follows him right away. "If I see anything tonight why I should not marry her tomorrow, in the congregation, where I should wed, there I will shame her." [Shakespeare 154] Claudio is not only saying he trust's a man he barely knows, rather than his fiance, but also, that if Hero has been lying, he will humiliate her on her wedding day. This cruelty is not only overlooked, it's encouraged. The second someone is suspected of adultery, they are seen as traitors. Whatever happens to them is their fault. I have extreme problems with this thought. For this reason, I couldn't like Claudio. He is a brave soldier, yet has no will of his own. He is superficial, and vengeful. These were somehow redeeming qualities. If I were Hero, I would get out before it's too late.

Why did Shakespeare write Much Ado About Nothing? Was he trying to impress anyone? Is it a satire, or was it a play he wrote for fun? It is one of the few love stories with a happy ending, making it similar to a fairy tale in that sense. The language is rich, the content is wonderful, and the wit is refreshing, I believe he wrote it as a satire of love, and as a warning. He may have been showing what can happen when people believe everything they hear. Every conflict in Much Ado About Nothing arises when someone says or does something, and someone else misinterprets. Beatrice and Benedick fall in love because both overheard groups of friends saying each expressed the love they had for the other. The conflict between Hero and Claudio is started when Don John accuses Hero of adultery. Every problem begins with a "he-said, she-said" ordeal. Much Ado About Nothing forces us to laugh at ourselves. As a whole, the play is funny, refreshing, and enjoyable.

This twisted love triangle foreshadowed the television and movies of today. Soap operas have similar plots to that of Much Ado. There is often a central character who falls in love, and then the other characters fall in love with each other, and create a tense situation. Many comedies are similar as well. Friends for example, is based on 6 people who fall in love with each other at different times. Problems arise when someone is misunderstood. It is the universal romantic comedy, soap opera plot.

One prevailing characteristic of Much Ado About Nothing is its' undying wit. The wit is the body of the play. Most of the humor comes from Beatrice and Benedick as they insult each other. Beatrice says this of Benedick before he returns from war, "Alas, he gets nothing by that. In our last conflict four of his five wits went halting off, and now is the whole man governed with one: so that if he have wit enough to keep himself warm, let him bear it for a difference between himself and his horse." [Shakespeare 92] William Shakespeare would later become a paradigm of many devises of comedy including puns, satire, physical comedy, and double entendre.

The Renaissance concern with the ideal man or woman, paired with an interest in the individual, makes Much Ado About Nothing a perfect expression of Renaissance thought. Hero fits the mold of the ideal woman, whereas Beatrice does not. Beatrice's strong will and wit make her a rich character, however not a typical Renaissance woman. How did she possibly fit into a Shakespearean play? Beatrice is one of the few strong women in any of Shakespeare's works. Beatrice's personality is similar to Elizabeth I. Perhaps Shakespeare was trying to get on Elizabeth's good side when writing this play.

Could Much Ado About Nothing fit into 1998? It is timeless, because the trials of love will forever remain the same. Though the response to the play may change over time, it could as easily occur in 2000 as it did in 1600. Women will forever be perceived as objects of love, and as future mothers. Unless men are suddenly capable of procreation, I don't think this perception will change. In the last century, women have gained rights comparable to men. However, women are still paid less, hired less, and often not taken seriously. In 2050 women may be designing computers we have never dreamed of, they may be creating cures to unmentionable diseases, but when they get home, the question will still be posed, "What's for dinner?"

Love Conquers All

Love is often recognized as one of life's greatest mysteries. The varying types and degrees of love do account for much confusion. The dictionary defines love as: A deep, tender, ineffable feeling of affection and solicitude toward a person, such as that arising from kinship, recognition of attractive qualities, or a sense of underlying oneness. The act of loving someone is simplistically defined as having an intense emotional attachment to something. (American Heritage Dictionary of the English Language, Houghton Mifflin Company) However love is defined, now, and in the past, it has caused great confusion. There are not only hundreds of definitions of love, but hundreds of derivations of the word love, as well. Some common derivations are: affection, friendship, brotherly love, Christian love

true love, possessive love, and Platonic love. (The Original Roget's Thesaurus of English Words and Phrases , Longman Group UK Limited) Both Forrest Gump of Eric Roth's Forrest Gump and Stephen Dedalus of James Joyce's A Portrait of the Artist as a Young Man confuse the various types of love, often classifying them as one type of love. These interpretations of love account for both character's life philosophies and success, or failure, in relationships.

Forrest Gump and A Portrait of the Artist as a Young Man both delve into the worlds of romantic love, Divine love, and filial love. Forrest and Stephen share the inability to distinguish between the above types of love. Forrest has a tendency to interpret Platonic love as romantic love, whereas Stephen has a tendency to interpret all love as Divine love. These interpretations plague both men for the rest of their lives.

Forrest Gump often interprets all love as a feeling of caring towards another person, or, as Platonic love. The first person he exhibits this "love" toward, is Jenny. Jenny embodies all that is good in Forrest's life. "We were like peas and carrots, Jenny and I." (Forrest Gump, Eric Roth) Every major event in Forrest's life is attributed to Jenny. She encourages Forrest in the best way she knows how. Unfortunately, Jenny has problems of her own that Forrest does not quite understand. "[Jenny's dad] was some kind of farmer. He was a very loving man- he was always kissing and touching [Jenny] and her sisters." (Roth) In this way, Forrest has a mixed understanding of love. He does not understand how Jenny's father is abusive. He sees Jenny's father's behavior as acceptable. It is not until Forrest grows up and loses Jenny, the love of his life, that he understands the power of true love. By the end of the screenplay, it is clear, that "His heart knows what his limited IQ cannot."(Forrest Gump, Winston Groom)

Stephen begins his life believing that love is a sin. His first recollection of love is the thought of marrying the young Eileen Vance (Portrait of the Artist as a Young Man. James Joyce. P. 8) This innocent belief follows Stephen until Dante informs him otherwise. Eileen is, after all, a young Protestant girl, completely unsuitable for a good Catholic boy. Surely, according to Dante, if Stephen were to marry a Protestant, he would go to hell. It is this early fear of love that plagues Stephen throughout his adolescence. "Thus far [by chapter 2], women have been either saints, martyrs, or sinners to Stephen. He has had to apologize for loving women, implying that something is wrong with his being attracted to women." (Cliffs Notes Portrait of the Artist as a Young Man. Zimbaro 46)

Jenny enters Forrest Gump's world on the same day that Forrest begins school. "I do remember the first time I heard the sweetest voice in the wide world. I had never seen anything so beautiful in my life; she was like an angel." (Roth) Jenny acts as a friend to Forrest, the one thing that Forrest wants and needs more than anything. Forrest, however, misinterprets his early relationship with Jenny as being a romantic love, opposed to as a Platonic love. Jenny has no initial romantic feelings towards Forrest, though in some ways, Forrest has romantic feelings for Jenny. The small tendencies towards romance that Forrest sees cause him to pursue Jenny throughout his life. While in Vietnam, it seems that Forrest finally acknowledges Jenny as a friend, as opposed to a lover. Ironically, it is the point at which Jenny sees Forrest as a romantic interest, that Forrest treats Jenny as a friend.

Jenny taught Forrest how to read, how to climb, and most importantly, how to run. Forrest took his skill as a runner to many places including the corn field, the football field, and the battle field. "From that moment on, if I was going anywhere, I was run-ning." (Roth) Jenny and Forrest remained together until Jenny went off to an all girls college, and Forrest went to the University of Alabama on a football scholarship. This incident would be the first of many in which Jenny and Forrest were forced apart.

Forrest exhibits another form of romantic love, however, this is not his intention. While with Lieutenant Dan on New Years Eve, he engages in foreplay with some prostitutes. This prostitute calls Forrest stupid, thereby causing Lieutenant Dan to throw her and her friend out the door. In this act of kindness, Forrest and Lieutenant Dan form a bond that will remain with them for the rest of their lives

Stephen is first introduced to his life's love, Emma Clery, at Belvedere College. Emma becomes Stephen's love interest through one of Joyce's later novels, Stephen Hero. Emma brought to life all of the feelings Stephen had. He even wrote a poem entitled, "To E-C" in which Stephen professes what he thinks is his love for Emma. He thinks he is deeply in love and that the feeling is mutual. This proves to be a mistake when Emma does not show up at Stephen's school play. This incident perhaps discouraged Stephen's pursuit of Emma throughout Portrait. By not showing up at the play, Emma seems to prove to Stephen that they were a 'one night stand' so to speak. Later in his life, this theory proves wrong when Stephen and Emma meet in a crowded library.

Stephen becomes deeply attached to Emma. However, he is never able to admit his love towards her to himself. This is evident in a journal entry Stephen writes shortly before leaving Ireland. "Yes, I liked her today. A little or much? Don't know. I like her and it seems a new feeling to me. Then, in that case, all the rest, all that I thought I thought and all that I felt I felt, all the rest before now, in fact . . . O, give it up, old chap! Sleep it off!" (Joyce 252). Stephen comes so close in this entry to professing his love and developing a relationship with Emma that it is frightening.

Like Forrest, Stephen also has an experience with a prostitute. Stephen's experience, however, has far more impact on the remainder of his life than did Forrest's. As a vulnerable sixteen year old kid, Stephen believes he is ready for sex, and that by having sex, he will become emotionally and physically mature. A variety of emotions go through Stephen. However, it is quite clear that he lacks emotional maturity. "He wanted to be held firmly in her arms, to be caressed slowly . . . In her arms he felt that he had suddenly become strong and fearless. . . It was too much for him. He closed his eyes, surrendering himself to her, body and mind, conscious of nothing in the world but the dark pressure of her softly parting lips. . . Between [her lips] he felt an unknown and timid pressure, darker than the swoon of sin, softer than sound or odour." (Joyce 101).

Stephen continually uses this experience against himself. He uses his experience as an excuse not to move on in life, possibly to create a sense of stability. His use of the experience with the prostitute against himself is most poignant when he dedicates his life to the church. "He named [his sin] with humility and shame and repented of it once more. It humiliated and shamed him to think that he would never be freed from it wholly, however holily he might live or whatever virtues or perfections he might attain. . . Perhaps that first hasty confession wrung from him by the fear of hell had not been good? Perhaps, concerned only for his imminent doom, he had not had sincere sorrow for his sin?" (Joyce 153) Forever reliving the guilt and the shame of his "sin," Stephen repents as much as he can, until one day, Stephen realizes that he does not need the acceptance of the church to feel complete. He is able to fill the void with his new love, art.

Jenny is to Forrest, in many ways, what the church is to Stephen. Jenny is the first person Forrest meets who is kind and gentle to him. Though, in some ways, Jenny hurt Forrest, it was not her intention to hurt him, but to help him. Her father, in his abuse, and the many companions Jenny encounters in her travels, influence her to mistreat Forrest. Repeatedly, Jenny would come to Forrest for guidance in her life. After Forrest comes home to be with his dying mother, Jenny comes to live with him. Though she leaves, again, it is clear that Jenny needs Forrest in order to remain happy and healthy. Jenny depends on Forrest as much as Forrest depends on her. It is this co-dependence that differs in Jenny's relationship with Forrest and Stephen's relationship with the church.

For Stephen Dedalus, the church is a safe haven, a last resort, so to speak. If ever in his life there was trouble, Stephen could count on the church. Ironically, this was the church that, in many ways, betrayed him. Early in his life, the priests and the rector of Clongowes act cruelly toward Stephen. They abuse him both physically and mentally. It is hard to say which abuse was more destructive to the young, impressionable Dedalus. Perhaps, it was not the church that abused Stephen but the men and women who served the church that acted disdainfully toward him. The institution of Catholicism was not what betrayed Stephen. The members of the clergy are what betrayed him. However, in the end of Portrait of the Artist as a Young Man, Stephen questions the doctrines of Catholicism, opposed to its' clergy.

The church is never a huge part of Forrest's life, however it is significant. It is more accurate to say that G-d plays a big part in the life of Forrest Gump. From the time he is a small child, Forrest prays to G-d, often at the urging of others. The person who has the greatest influence on Forrest's initial relationship with G-d is Jenny. Jenny, while running away from her father, begs Forrest to pray with her. "Dear G-d, please make me a bird so I can fly far, far away. Dear G-d, please make me a bird. . ." (Roth) It is this moment of tension that creates Forrest's first weak connection to G-d. "He never made Jenny a bird that day, but G-d did take Jenny and her sisters away from her father so she could live with her grandmother." (Roth) It is at this point that Forrest creates his initial relationship with G-d.

Later in his life, he seems to forget G-d and the church. It is not until he buys a shrimping boat and experiences the hardships of the world of shrimping, that G-d reenters his life. In fact, it seems that Lieutenant Dan brings G-d back into Forrest's life, opposed to Forrest bringing G-d back himself. While on the shrimping boat, a great storm occurs, destroying the other shrimping boats in the sea. This gives Forrest and Lieutenant Dan the advantage of the entire market, and eventually, leads to their financial success. Lieutenant Dan attributes the success to G-d, and so, he and Forrest join a Gospel Church.

From the day he is born, Stephen has an immense connection to the church. With early incidents such as the one with Eileen Vance (Joyce 8), Stephen creates a devotion to this omniscient creature. In his early life, Stephen prays to G-d as a comfort to himself while in turbulent times. " [He] relies on the strength he receives from saying his evening prayers." Zimbaro 24. By praying to G-d, Stephen feels that he will remove himself from all evil, and become a pure soul. G-d, The Church, and religion create a comfort zone for Stephen. "There exists, however, an area of conflict that Stephen cannot resolve by resorting to words. Religion is a problem for the young boy. He finds comfort in the repetition of memorized prayers." Zimbaro 29. In the beginning of his life, the Church provides comfort in times of trouble. In his later life, the Church is a place to avoid in order to feel secure.

Hell is a great fear of Stephen's. After the hell sermon (Joyce 119-135), Stephen devotes his life to the Church in hopes of absolution. "Sunday was dedicated to the mystery of the Holy Trinity, Monday to the Holy Ghost, Tuesday to the Guardian Angels, Wednesday to Saint Joseph, Thursday to the Most Blessed Sacrament of the Altar, Friday to the Suffering Jesus, Saturday to the Blessed Virgin Mary." (Joyce 147)

Stephen hopes with all his heart and soul that he will be spared damnation in hell by leading the remainder of his life in perfection and devotion. He prays for G-d's love in order to save himself from his own personal hell. It seems that for a brief moment, however, that opposed to fearing the power of G-d's hate, he is in awe of the power of G-d's love. " He walked on and on through illit streets, fearing to stand still for a moment lest it might seem that he held back from what awaited him, fearing to arrive at that towards which he still turned with longing. How beautiful must be a soul in the state of grace when G-d looked upon it with love! (Joyce 140) For a brief moment, Stephen loves, instead of fears G-d.

It is clear, however, that by the end of Portrait, Stephen's repudiations of the beliefs of Catholicism are not complete. He still believes enough in the Catholic church that he cannot take false communion; he, again, fears G-d. "And that is why you will not communicate, because you are not sure of that too, because you feel that the host too may be the body and blood of the son of G-d, and not a wafer of bread? And because you feel that it may be?" "Yes, Stephen said quietly. I feel that and I also fear it." ( Joyce 243) There remains one small glimmer of hope that G-d still exists, after all.

Throughout his life, Forrest creates a connection with G-d due to other people's influence. "Lieutenant Dan: "Have you found Jesus yet Gump?" Forrest Gump "I didn't know I was supposed to be looking for him- Sir!" (Roth) Once Lieutenant Dan brings up the ideas of G-d and Jesus, Forrest begins searching again for G-d. The idea of G-d makes Forrest feel significant in a world of people who are far brighter than he is. This love that G-d supposedly exhibits gives Forrest the strength to carry on in his life, by giving him someone or something to believe in with a greater power than that of a human being.

Like Forrest, Stephen's initial relationship with G-d is created by his friends and family. Once he hits about sixteen, his feelings toward G-d are purely his own. Stephen creates relationships with G-d in order to secure salvation, instead of creating meaning his life. Even when Stephen devotes his life to the church (Joyce 147), he does it to save himself, not because he truly loves this institution. Stephen does not live with a love of G-d, but with a fear of G-d

One other common bond that Forrest and Stephen share is a profound relationship with their mothers. Forrest is deeply connected to his mother. This is apparent as he begins almost every sentence with "Mama always said. . ." Stephen's relationship with his mother is perhaps the only healthy, loving, relationship Stephen is able to create. Both men have deep connections to their mothers throughout their stories and their lives.

The only person Forrest has in his life to care for him, until he meets Jenny, is his mother. Forrest's daddy has been on "vacation" for his entire life. This could be the reason that Forrest gravitates toward women, and has a sensitive side. He is very feminine in many of his actions, mostly in his relationships with others. His ability to tell stories and to talk with people is certainly a female characteristic.

No matter where Forrest goes, he always returns home to his mama. His mama is the person responsible for much of Forrest's success. The advice she gives him, as well as her direction, allows Forrest to become a great man. She sacrifices her life for him, as is clear in her "talk" with the principal of Forrest's school. She will do anything for her one and only son, and Forrest will spend the rest of his life showing his gratitude to his dear, beloved mama.

Stephen has a close relationship with his mother as well. While at Clongowes Stephen expresses the following sentiment, "He longed to be at home and lay his head on his mother's lap." (Joyce 13). "Clearly, even at an early age, Stephen prefers his mother to his father." (Zimbaro 26). He has a hostility toward his father. Stephen sees his father as the man who lost his money, shamed the family, and humiliated him in the incident with Father Conmee (Joyce 72). It is clear that Stephen would choose his mother over his father.

Once Stephen has grown up, he still has a deep connection with his mother. He truly values her opinions, and wishes for her acceptance and happiness. "Yes, his mother was hostile to the idea, as he had read from her listless silence. Yet her mistrust pricked him more keenly than his father's pride and he thought coldly how he had watched the faith which was fading down in his soul aging and strengthening in her eyes." (Joyce 164). In the end of Portrait, it is clear that Mrs. Dedalus needs Stephen, as much as Stephen needs his her. "[Mother] prays now, she says, that I may learn in my own life and away from home and friends what the heart is and what it feels." (Joyce 252). They have a mutual respect for each other, a respect that should be cherished for as long as they live.

The blind devotion that Stephen and Forrest show for their mothers is so noble, that it is hard to believe either man has difficulty in relationships. If Stephen were to treat the women he loves with as much devotion and respect as he shows his mama, he may very well have a plentiful love life. The connection each man shares with his mama shows the feminine side both men possess. Without his mama, Stephen and Forrest would be lost in life.

* * * * * * * * * * * * * * * * * * *

In the end, Forrest shows a greater understanding of love than most people of greater intelligence. His relationship with his mother, with Jenny, and later with his son, can serve as a model for all people The care and compassion Forrest shows surpass any accomplishments he could have made as a genius. Love, most certainly, keeps the audience intrigued, and allows the world to identify with Forrest. Forrest Gump represents the ideal heart in a non-ideal brain. The heart most definitely prevails in the long run, so Forrest Gump is in a far better position than his smarter, often heartless contemporaries.

Stephen, on the other hand, never understands the power of the heart. Though he comes incredibly close in his journal entry "Yes I liked her today . . . , " (Joyce 252) Stephen remains incapable of interpreting the heart. He understands the worlds of art and beauty. However, his views of love are somewhat distorted. In many ways, Stephen shows more love toward the Catholic Church than toward Emma Clery. As long as Stephen is tied to the Catholic Church, he can never truly be free to live life as he pleases. This is perhaps why Stephen keeps his ties to the Church, to avoid an imbalance, and, possibly, to avoid true happiness.

The successes and failures that each man expresses in his relationships are representative of his interpretations of life, love, and the world. Forrest, with his acceptance of the world of change and chance, lives his life happy and fulfilled. His "Life is like a box of chocolates" (Roth) mentality serves him well in his relationships with Jenny, Lieutenant Dan, and Bubba, the friend he lost in Vietnam.

Stephen's mentality, expressed in his conversation with Lynch, is representative of his failure in relationships. "As for that- Stephen said in polite parentheses, we are all animals. I also am an animal." (Joyce 206). His tendency towards superiority in the end of Portrait causes his relationship with Emma, thus far, to fail. Perhaps if Stephen were to bring himself down to the mortal level, he would find success in life as well as in love.

The story of Forrest Gump is one that can touch the world. Perhaps Winston Groom, the creator of Forrest Gump, put it best when he said, "Forrest Gump represents integrity" (Groom) Indeed, Forrest Gump does represent integrity. He is noble in all of his activities, and shares a great wealth of heart with the world he encounters. "No matter how different we are, we all share in the experiences of falling in love, of tragedy, of losing people we love --- those things that touch each of us and serve as a common bond." Groom.

Stephen, though misguided, does have a wonderful heart; it is simply hidden under a shell of insecurity. Stephen struggled with acceptance of himself in the same way that Forrest struggled with acceptance from others. The two men shared many of life's lessons, though they led separate lives. Their hearts served them in the same way. Forrest used his heart to his advantage, Stephen to his disadvantage. Despite all complications in Stephen's life, it would seem he led a very similar life to that of Forrest Gump. In many ways, Forrest Gump is everyone's ideal life story. "Deep down in my soul- I feel we all are a little like Forrest!!," and so, this is how it should be.

Computer Chips For Lunch
The effect of technology on American society

As the twentieth century comes to a close, there is an undeniable dichotomy in the morals and values of American society today as compared to their predecessors of the first half of the century. The physical health of Americans has also declined as a result of the shift in values seen in the last twenty years. Cars have become the mode of transportation in many cities, thereby eliminating the necessity for exercise. Inventions such as the computer and television have uprooted the intimacy of interpersonal relationships. Because of the internet, people are now able to comfortably live sedentary lives. The introductions of the car, television, and the personal computer and internet into the second half of the twentieth century have resulted in the demoralization, breakdown of communication, and the sedentary nature common in American society. The initial purposes of the aforementioned inventions have been dismissed in favor of convenience and progress.

When first invented, the purpose of the automobile was to improve transportation for the well-to-do. Among the beneficiaries of the automobile, more commonly known as the car, were doctors. With the car, a doctor could more easily make house calls and attend to emergencies in the area. As the century progressed, cars became more available to middle-class Americans. With this, career choice expanded, and people were able to work in neighboring cities. As a result of the newfound freedom of motion, the likelihood of coworkers living in neighboring homes declined. This also led to a less personal relationship with one's coworkers, and thereby a decline in work ethics; it is far easier to take advantage of someone who is unfamiliar than a dear friend.

As cars became easier to produce, due to the innovations of Henry Ford, they went from being available to a favored few to being affordable, as Ford said, "To everyone making a good salary". During the twenties, Ford went from producing just the black Model T, to producing a broad spectrum of models in a variety of colors. Other manufacturers, like Packhard and Deusenberg, turned Ford's utilitarian model into expressions of style, status, and power. One's car could express one's emotions, inhibitions, and fears, simply by one's interior and bumper.

While the depression and World War Two certainly slowed the spread of the automobile, veterans, aided by the GI Bill, demanded more cars in a wide variety of styles and colors. By the mid-fifties, cars were part of everyday America. The prosperity of the sixties, along with the spread of population to the suburbs, increased the demand for cars. American manufactures forfeited quality for an increase in production. Safety took a back seat to style and increased sales. (Groilers Multimedia Encyclopedia, 1998)

The American lust for size and power was stopped in its tracks by the Opec Oil Embargo of the early seventies; this action caused America to reform its economy. As American drivers demanded more fuel-efficient cars, Chevy gave America the Vega, and Ford, the Pinto. This marked the introduction of the money making strategy, 'quantity over quality'. As a result, there was an overwhelming decline in business morals. Opposed to creating quality products, producers began making 'economy' products that were lesser in price and in quality.

As America moved into the eighties and nineties, between seventy and eighty percent of the population owned one or more automobiles. Cars were owned by a wide range of people including not only wealthy and middle class adults, but also teenagers and up-and-coming twentysomethings. With this, the breakdown of the American family was exacerbated to a rate unrivaled in the preceding eras. Cars allowed for the adolescent population to go out when, where, and how they pleased; interestingly enough, this led to a rise in the rates of teenage pregnancies. This also brought along the idea of the drive-in movie, a medium which was not recognized for its high moral character. Movies, such as Rebel Without a Cause, introduced the teen-rebel image prevalent from the fifties to the present day.

As the rate of women in the work place increased, so did the number of cars per household. Though this was undoubtedly a needed convenience for many, the multi-car family was forced further apart in the desire for convenience. Another change brought about by the car, was the decline in socialization of children. No longer did the first day of school entail mommy walking her little one to the bus stop. Instead, mommy or daddy rushed the child to school and dropped the abandoned kindergartner at the curb to forage through the mess of other abandoned children. The socialization of children on a school bus was formerly one of the most exciting parts of school. Rarely do we see the yellow school bus driving down to drop off a bus chock-full of elementary school students in today's society.

The car not only broke down the family, but it also became an excuse to avoid exercise. The convenience of the car has virtually replaced such beneficial activities as walking and biking. In favor of saving time, people have used their cars to transport them everywhere they desire. The drive-in movie bowed down to its new and improved cousin, the drive-through restaurant in the mid eighties. Not only were we stuffing down grease covered blobs of unmentionable cow parts, but we could not afford the five minutes it takes to walk inside the revered fast food restaurant. If one were to look around a metropolitan area, it would not be inconceivable to see drive-through banks, restaurants, and film processors. American's can no longer be bothered with wasting time on such foolish activities as depositing checks or picking up the pictures from the solitary visit to Cyberland. This saved time is often spent in front of the most popular form of entertainment, the television.

When the first televisions came into American homes, there were three channels and programming aired four hours daily. Before the days of syndication and recording devices, it was sure that whatever image popped onto the screen, had not done so prior to that moment. This newfound entertainment was welcomed with open arms into the homes of the wealthy, and soon, into most American homes. (Hardebeck, 1998)

Much like the car, the television's early days were spent with the cream of the crop. Early programming such as Hallmark Hall of Fame demonstrates this select audience. A few years after its introduction, televisions reached middle class homes showing The Milton Berle Show and I Love Lucy. Family-friendly programming aired during prime time, the time generally reserved for dinner. With this, the TV dinner came into popularity giving the at-home-mother a break from the banal routines of which she was used to. Unfortunately, with the TV dinner also came the breakup of the American family. Instead of spending these prime hours with one's children, time was more often spent watching other parents with their children. As television moved into the homes of the less fortunate, the programming no longer reflected the ideal family of the Leave it To Beaver era.

The television family evolved with the families of American society. The divorce rates began to climb sky high, so TV had to find another aspect of society to represent. The seventies and eighties introduced programs focusing on friendships; the decline in the importance of family values seemed to parallel this shift. Shows such as Taxi, Cheers, and Charlie's Angels, neglected to show the family life of any of its stars. In fact, many of the shows emphasized the dysfunction, as well as the nuisance, of a family. Instead, they stressed the importance of colleagues and friends; this was a noble goal, but it was also destructive to the family unit. (Johnson, 1999)

The nineties vacillated between age groups to focus on. Beginning with Seinfeld, moving to Friends, and ending with Dawson's Creek, the ideal age moved lower and lower until infants were the stars of popular shows, eg. Rugrats. On the rare occasion that the family was indeed the focus of a program, said family was dysfunctional.

Roseanne enjoyed a ten year run showing the rude antics of a blue collar, crude family. It seemed that opposed to reflecting the trials of poverty, television belittled the poor through comedy. This further escalated the decline in morals of today's society. The Simpsons has enjoyed unrivaled popularity by satirizing the middle-lower class family. Unfortunately, this satire is often lost in the ignorance of its younger audiences. As a result, we seem to be raising a generation of Bart Simpsons and Eric Cartmans.

The one age group that has been universally neglected in television, is the elderly. No longer do we respect and revere the old for their wisdom, but we throw them out for their inconvenience. As the society continues the familiar pattern of out with the old, in with the new, we are applying this philosophy to people as well as things. This is perhaps best demonstrated by the computer industry.

Personal computers had their primitive beginnings in 1976. Initially used by governmental agencies and the military for purposes of navigation, the PC was a rarity in the homes of the common American. However, do-it-yourself kits allowed ambitious experts the opportunity to comprise raw parts into a fully functioning PC. With advances in the areas of software and programming, the eighties sparked a newfound interest in these smaller versions of the traditional computer. By the late eighties and early nineties, approximately sixty percent of homes owned at least one personal computer.

As the computer industry evolved into an ever changing world of RAM and gigabytes, the morals of this industry declined significantly. With the introduction of Windows '95, the quality of operating systems met a significant declination. In a desire for a more economically efficient system, computers became plastic toys to be replaced every few months.

Not a day goes by without some new development promising to solve all one's computer-related problems. With each new gizmo and device, Americans are wasting more time and money than before the introduction of the personal computer. The time saved in processing data is often tied up with trouble shooting, computer crashes, and installations. It seems that the price we have been paying for convenience, is one of time and energy. In order to simplify our lives, American's have been making them more complicated. This paradox of values is often exemplified by the internet.

The internet, in its modern form, originated in the early nineties. Companies, such as Prodigy and America Online, brought some of the internet's promise to early adopters. It was not until 1995-96 that the internet soared into mass production. The world was buzzing with the news of the World Wide Web. It seemed that a massive encyclopedia was right at our fingertips, to be used at our disposal, day or night. Though early on, the hourly rates were outrageous, within a year, companies were competing to sell the best deal.

As rates began to be compounded monthly, instead of hourly, the popularity of the internet soared. People began to base their lives around the internet, and society began to see the disadvantages of full access to the world and its populous. Internet sites appeared boasting nudity, pornography, and many other such 'privileges'. The internet offered everything from 'My favorite pot recipes' to 'Why I believe that all people are inherently evil'. The first medium to have no censorship or editing, the internet was the uncut version of life. Unfortunately, this sent out incorrect information as well as potentially life-threatening advice. The question still remains however, is the World Wide Web a reflection of society, or is society a reflection of the World Wide Web?

There is yet another unfortunate side effect to the internet. Programs designed to help the disabled and elderly, are being used by the common population. This leads to many sedentary lives, and the complete annihilation of person-to-person contact. Though the Web should be hailed for its convenience and progress, it should also be evaluated for its effect on the physical health of the society. Are we, as a society, simply looking for an excuse to avoid exercise, or is the human body no longer considered crucial to survival? The internet takes away the need for social skills and relationships. If we continue to head in this direction, there will no longer be overpopulation, population will cease to replace itself. (Nua Ltd 1999)

Technology is defined as the application of knowledge for practical ends (Microsoft Bookshelf '98). One might be tempted to question the practicality of a device that remains unused ten percent of the time, and abused ninety percent of the time. The progress of today's society is questionable from a cultural perspective. Have we isolated ourselves further by introducing these devices into our lives? The initial purpose of the car, television, computer, and internet was to give the world greater access to other human beings and living creatures. Technology has stunted our social and cultural growth by disallowing us the opportunity to experience other people and things. Science and technology are not, however, the cause of the breakdown of American society. The manifestation of technology has made society what it is today. At the end of World War Two and the cataclysmic events at Hiroshima and Nagasaki, Albert Einstein observed, "I do not know what weapons will be used to fight World War Three. However, I do know that World War Four will be fought with sticks and stones." It remains unknown however, whether this is the fault of technology or of human nature. All we can do is speculate about a future of computer chip lunches and chocolate ram desserts consumed in mega bites.

When Perception Does Not Equal Reality

The primary way human beings experience the world is through the senses. We are most attuned to what we can hear, see, smell, touch, and taste. The first way an infant learns about his surroundings is to put them in his mouth. The child may not know that the ball going into his mouth is used to play basketball or that it has special meaning to his older brother, but he does know that the ball is round, bumpy, not particularly tasty, and relatively solid. He might even mistake the ball, if small enough, for an orange. What is to tell him that it is not the juicy fruit he suspects it is? In Plato's The Republic, the society shackled deep inside a cave sees only shadows. They are unaware of the reality of these figures; they do not know these figures have color, dimension, and more complex motion than appears in the shadow on the wall. They know only what they can sense. Given the physical confinement, however, their senses are limited. As such, they are similar to the infant in that their lack of experience causes them to rely only on concrete senses. Generally, it is not until differing objects have been presented that it is possible to distinguish between them. The baby who lacks experience with a basketball might not know simply by picking it up that it is significantly different from an orange. A person confined to the cave would not know that the shadow he sees is not an accurate reflection of the actual person. Does this mean that our senses are incapable of perceiving reality? Can our senses only partially reveal reality? If we each have a unique sensory experience, does this mean that there can be more than one reality?

In today's society, we are often told not to rely on our senses. It is much easier to manipulate our senses given new technology and science. If we are only given a picture of an event, there's nothing to tell us that it is not computer generated. We might not be able to taste the alcohol in a drink if it is disguised cleverly. We can change the appearance and taste of most any food with coloring and food substitutes such as wheat gluten. Most anything can be physically manipulated. Sometimes, however, there is no deception at all, simply misinterpretation. For example, one might hear what sounds like rain, but turns out to be the sprinkler system. This manipulation and the general flaws in our senses make it difficult to accept the idea that our senses are the only thing that can perceive reality.

In Sophocles' Oedipus Rex, we see that sensory perception works on two levels. The first level is that of the physical sense, in this case, sight and sound. The second level is that of understanding. It is the problems with this second level that comprise Oedipus' tragic flaw. In Oedipus, Teiresias, the blind prophet, tries to explain to Oedipus the difference between noting and understanding a sense in the following:

"Have you eyes
And do not see you own damnation? Eyes,
And cannot see what company you keep."

Teiresias knows that there are obvious clues that solve Oedipus' mystery. He finds it painfully clear that the answer is right in front of Oedipus' nose and he cannot see it. Ironically, the one who can see best is blind. The same metaphor is true of Shakespeare's King Lear. In trying to assess which of his daughters loves him most, Lear hears only the words they say, not the tone or the implications of those words. Cordelia, the only one who speaks the truth, is condemned because she will not placate her father. In this way, though the physical senses are not flawed, the interpretations of them are. Oedipus sees, but does not understand and Lear hears but does not comprehend. As such, by relying solely on their senses, Oedipus and Lear are deceiving themselves.

This is almost in direct opposition to the plight of those confined to the cave in Plato's The Republic. Those in the cave are led to believe that there is nothing more than what they see. When the one who escapes comes back and has great difficulty adjusting to the darkness of the cave, the rest believe that by leaving, he lost his sight and would have been better off to have never ventured out. They are unable to comprehend that it is possible that the great mystery of sight and sun could add to the confusion and disorientation, but not cause it. They believe that the world beyond shadow and darkness is frightening and deceptive. In this way, they are similar to Lear and Oedipus in their narrow perception and refusal to see anything beyond current physical sensations.

All of the above stories show that perception is unique to each person. Teiresias, though blind, can see better than Oedipus. His perceptions of the situation are very different because he is experiencing it in a different way. King Lear hears only that which he wants to hear. He hears the compliments of Regan and Goneril, but does not hear the tone of their voice. Other people might detect the stress on certain words whereas Lear hears only the best. The people in the cave do not see the same way the man who escaped does. He has a very different perception of light and dark. The dark is likely to be more frightening and desolate than it was prior to leaving the cave. It is difficult to share sensory perception because it is often based on past experiences. The only way that two people can be assured to sense the same thing is if they have had identical upbringings. Given that this is unlikely, it is hard to share sensory experiences. Oedipus does not see from the outsider's perspective, he sees only from his own. Lear does not know what the girls say behind his back, so he may never know how his daughters truly feel. As such, everyone interprets things in very different ways.

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Lévi-Strauss explores what we know through the worlds of science and music as they relate to mythology. As he sees it, there is a common perception that the less we rely on our senses, the greater our chances of attaining sophistication and civilization (Strauss 12). Our senses were at one point tools for survival, but with technology such as television and radio, our senses are not as necessary. For example, when it is about to rain, there is a change in the wind and the smell of the air. In previous years, farmers did not have the weather channel to predict rain, they had to be attuned to the changes in climate. Now, we have the National Weather Service to warn us of showers or an impeding natural disaster. As they are no longer necessities, certain senses become dull with disuse and decay. There is evidence, however, that we can sharpen our senses with training. There is a tribe that is able to see the planet Venus in broad daylight. Though modern society has not trained the eye to be able to do this, it is a capability of the eye. Similarly, some people can detect the slightest difference in shades of a color whereas others can barely distinguish between two completely different hues. This is evidence that sense is inherent, but we are trained to use it or discard it as needed.

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Freud and Jung have a somewhat different approach to the senses. Freud, in his Interpretation of Dreams, is fascinated by the sensual experience of sleep. An alarm clock can be incorporated into a dream as a school bell for a fifth grader, a fire alarm for a college student, or perhaps a nagging telephone for a receptionist. More interesting to Freud was that sensation intensified during the dream cycle. A blanket falling off can make a slight feeling of cold become a snow storm. Furthermore, we deliberately shut off our primary sense, our eyes, and subconsciously heighten our other four senses.

Certain interpretations of sense are a result of society. We have learned to associate certain smells with certain places and certain sounds with certain feelings. Even if a person's mother did not bake cookies, smelling cookies baking in a neighboring house could conceivably cause a person to begin dreaming about his mother. Bells are often associated with disruption of an activity and can thus change the nature of a person's dream. For example, in hearing a fire alarm in the middle of the night, a person could be brought back to high school and feel the panic of coming to a class unprepared. Society teaches us to interpret senses in various ways that are perceived as "normal" and we may, as a result, create false connections with sensory experiences.

Jung argues in his book, Man and His Symbols, that people will never fully sense anything. We can use our senses but the experience will be limited by the quantity and quality of them. Though we can use instruments to compensate for this somewhat, Jung argues that there is a limit to the capacity of one's senses. They can only comprehend so much "Even when our senses react to real phenomena, sights, and sounds, they are somehow translated from the realm of reality into that of the mind" (Jung 4). It is at this stage that our senses can be deceptive.

Jung is also interested in the work of the unconscious in terms of sense.There are times when we sense something and do not see the implications or the result. At other times, we do not know we have sensed something, but are keenly aware of the consequences. Jung proposes that this is where a number of neuroses begin, at the unconscious interpretation of a sensual experience. For example, there was a woman who seemed in all other measures to be healthy, but she would suddenly get piercing headaches.Though she was not aware of it, there was a distant foghorn which reminded her of an unhappy parting with a former lover that caused her to get these intense headaches. She was unaware of how she felt about her former lover and the things that triggered his memory. Our senses can deceive us and we can deceive our senses.

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Grimm's fairy tales give the most fundamental examples of false perceptions. In "Snow White and the Seven Dwarfs," for example, the wicked queen disguises herself as an old woman in order to get into the dwarfs home and kill Snow White. First, the wicked queen disguises herself as an old woman, then, when that fails, she dresses as a different woman and brings a beautiful, though poisonous comb. When that fails, she brings a delicious looking apple and presents it to Snow White. As it turns out, the apple is poisonous and it "kills" Snow White. When the pallbearers hit a bump, the shock dislodges the offending apple and brings Snow White out of her coma. This tale which is often retold on Halloween, reminding us not to accept open candy from strangers, is among the most well known cases of false perception. Snow White was lured by mystery and beauty. Other tales of deception include "Little Red Cap," "Hansel and Gretel," "Rapunzel," and many others. Almost all of these tales intend to warn people against greed and deception. Most involve people disguising either their appearance or the sound of their voice in order to capture or hurt an innocent person. This attempts to teach us to rely on a sixth sense, intuition, rather than the other five senses. In other words, though our five senses are a reliable way of determining the presence of danger, they are not reliable sources of determining the absence of danger.

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We've previously discussed the varying tricks our senses can play on us. In the study of meditation, we learn how to "play tricks" on our senses. Meditation often uses the sensual world as a stepping stone toward the spiritual world. For example, by concentrating on the sound of one's breath, a person can tune out the surrounding noises. Once the surrounding noise is gone, the breath will slowly give way to an awareness of the body and the mind. Many people use meditation as an escape from reality rather than a connection with reality. Jack Kornfield, author of A Path with Heart admits, in the beginning of his spiritual practice, he did use meditation as an escape. It was not until he matured that he was able to use meditation to increase awareness of the sensual world rather than to ignore it.

Thich Nhat Hanh spoke of using the simplest daily activities as paths to spirituality. Simply eating an orange does not mean that a person is tasting or experiencing the orange. When we have so many images, sounds, smells, and tastes coming at us, we are more likely to tune out one or all senses in order to accomplish a goal. However, if we choose to focus on one sense, we will be better able to appreciate it. If we are attuned to our senses, they cannot deceive us.

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There are various ways to look at the world and experience it. The empiricist view is that the only things we can know are those things which are concrete and can be detected by our senses. We can only know that which we can hear, smell, see, taste, or touch. The rationalistic way of looking at the world is to accept that the only things we can know are those things we are unable to sense. We can only know things such as justice, truth, and freedom. It seems that it is more effective to reach a happy medium. Our senses are wonderful ways of experiencing the world, but they are not the only ways. There are the problems of optical illusions, faulty senses, and limited senses. There is the connotation of a word rather than the word itself. Though sense is a good way of knowing, the flaws with it make it a somewhat unreliable way. In sum our senses can only describe the world, they cannot explain it.

In Pursuit of "Truth"

"Everything they've ever 'known' has been proven to be wrong.
A thousand years ago everybody knew as a fact, that the earth
was the center of the universe. Five hundred years ago, they knew
it was flat. Fifteen minutes ago, you knew we humans were alone
on it. Imagine what you'll know tomorrow."- Kay Men in Black

With the advent of the internet, and the increasing bodies of knowledge available about not only the present, but the past as well, it is nearly impossible to evaluate the validity of each and every piece of information. As such, we must use whatever tools possible to interpret the information we are given. Most of these tools are subconscious filters much like the plastic gels used to manipulate theatrical lighting. Just as a lighting designer might use various shades of yellow and blue to create the illusion of water, one uses culture, politics, society, etc. to build a more complete interpretation of a given piece of information. In doing so, one also disregards other interpretations that do not fit within a certain mold. For example, a scientist would be unlikely to accept that two objects of differing masses fall to the ground at the same time because a spirit is riding on the lighter one, thus allowing it to fall at the same time as the heavier one. This is, indeed, a possible explanation for the phenomenon of gravity, but the social, political, religious, and academic teachings the scientist was exposed to would likely disregard this conclusion.

If we accept these as the limitations of our society, what else must we accept? At one point, the commonly accepted belief was that the earth was flat. Not until there was great interest in exploring this particular assertion was it determined that the earth was, indeed, circular. Similarly, the identity of the couple portrayed in Jan Van Eyck's Portrait of Arnolfini seemed to be confirmed by historical analysis. Not until Linda Seidel questioned the status and identity of the woman in Van Eyck's portrait in her 1989 artilce "Business as Usual" did the art community begin to doubt the popular interpretation of Erwin Panofsky. Panofsky concluded in his 1934 piece that the piece in question was, more or less, a marriage certificate for Giovanni Arnolfini and his wife Giovanna. He paid little attention the Giovanna's status, and thus missed the clues that the cirucmstances surroudning the wedding, and thus the painting were different than what he believed. As is turns out, the painting is not of Giovanna and her illustrious husband in the first place. The date of the painting precedes the brief marriage of the couple, and thus is not what we have been led to believe. This information did not come about, however, until someone questioned the accuracy of the methods used to identify the couple.

The records of the whereabouts of Arnolfini were always present. If no one looked at the records, however, there was no way of knowing that the supposed portrait of Arnolfini was not what it had appeared for the past three centuries. If this can be true of the Portrait of Arnolfini, could it also be true of history? The answer is, yes, of course it can be. History books claimed that Jefferson did not have any sexual relations with his slave

Linda Seidel, an art history professor at the University of Chicago, wrote a piece that contradicted Panofsky's assertions. Her 1989 "Business as Usual?" was more interested in the history of the woman in the portrait, Giovanna. This is a far more acceptable interpretation in 1989 than it would have been perhaps a century earlier. Not long after the Women's Liberation Movement of the 1970s, Seidel wrote her piece on the oft neglected figure in Arnolfini's Portrait, the woman. Had she written this article forty years earlier, perhaps she would have focused on the elaborate, perhaps even wasteful use of material, a hot topic after the conservationist efforts of World War II.

Given the wealth of information in the world today, it is near impossible to evaluate each and every piece individually. Thus, we depend on other people, namely historians, experts, teachers, and others to interpret this information for us. As such, most information is biased in one way or another. In the late nineteenth and early twentieth centuries, for example, explorer John Smith was elevated to the position of a hero. He was virtually immortalized by historians and storytellers. An 1846 biography of Smith raved that "by good words, fair promises, and his own example, [Smith] succeeded in setting some to build, some to mow, others to bind, and others again to thatch - always, however, tasking himself beyond any of the rest" (Simms 122). Today, we might approach this biography with extreme caution. It is likely based on Smith's own accounts of the events at the Virginia colony, and so is inherently biased. We must accept, however, that all information comes from a source that is biased by nature. Does this mean the source is unreliable? Does this mean there is no "truth?" If even eyewitness accounts are not necessarily accurate, how can we be sure of anything?

If we take as a given that information, and thus knowledge is biased by nature, we can only rely on concrete facts to present us with the "truth." Let us look at the following pieces of information. In the year 2000, 85 people died in the United States. One might ask how these people died, perhaps why they died. The next bit of information could be that in the year 2000, 85 people were executed. If we evaluate this information from the perspective of an American, we might ask the race of those executed, the ages, perhaps even the crimes they were charged with. In Iraq, on the other hand, people may not care about the circumstances surrounding the execution. It may seem obsolete that 33 of the 85 executed were black. Though information on the race of both the defendant and the victims is readily available, there is nothing that gives the average weight, hair color, eye color, or birth place of those executed. In our culture, that information seems irrelevant, whereas in a culture that has a history of discrimination against blonde people, for example, it might seem crucial. The fact that we care about the race of death row inmates is indicative of our culture, but not necessarily of others.

Similarly, the time period in which information is presented is as important as who the information was presented by. A 1960 account of the Civil War would be quite different from an 1890 account.

The culture we live in will inevitably shape the information we are exposed to. In American schools today, the 1915 film Birth of a Nation will not likely be shown as an accurate account of the Civil War. Doing so would probably result in avid protest and condemnation by government leaders or interest groups. The Pope is not currently distributing pamphlets on abortion and birth control. Whereas in the 'secular' United States, artificial birth control is available to most everyone, in Vatican City, such a thing would be unheard of. Distribution and interpretation of information follows similar principles. Western cultures have discounted the idea that objects move toward each other because they love each other. The government of the United States does not operate under the belief that the president is given his mandate from heaven. We rarely except supernatural explanations for earthly events. Bias is an inherent part of the distribution of information, though most all of it is subconscious. Our view of the world is much like theatrical lighting. Though on stage there appears to be a greenish tint, it is in fact the mixture of a number of gels intended to create the appearance of the sun reflecting on a house. Similarly, religion, culture, history, society, and personal experience all act as the gels that create a specific image.

In so-called 'modern' Western societies, we often assure ourselves that the information we have is correct by relying on statistics and probabilities. For example, on any given day, there is a 'known' likelihood that it will rain. We, as members of the information age, take this as gospel and get very angry at the weather man when he misleads us. After a time, many people realize that the weather report is not, in fact, infallible. Society has a tendency to believe, however, that information provided in textbooks and other academic sources is of the highest degree of accuracy. A book on the life of John Smith published in 1846 raves that Though this was seen as an historical account of John Smith, it seems to be riddled with bias. Simms further claims that "[Pocahontas] had, from her earliest knowledge of the English, been impressed with their superiority. She had loved them as a race beyond her own" (Simms 335).

Similarly, though a more extreme case, in the midst of World War II, the German people received very little information on the mass genocide of the non-Aryan race. In all of these cases, we, as a society, have relied on the information provided to us, generally without question. We trust that our history text books will give us the complete account of past events. In the time of Aristotle, we knew that the greater the mass of an object, the faster it would fall to the ground. If a person had questioned this theory, something that could be easily discounted with a simple experiment, it would be clear that this explanation was incorrect. As the amount of information available in the world increases on a daily basis, we are forced to trust that the information we are given is accurate. Given the varying definitions of accuracy, however, each society has a different interpretation of truth.

Savage Inequalities

There has been a recent unsettling trend in education - schools today are more segregated then they were in the 1950s. Patricia Kusimo contends that "for the first time since 1954, school segregation is actually increasing for African-American students." It seems, however, that race is not the only factor. As Jonathan Kozol observes in Lower Price Hill, Ohio, poor white children face many of the same challenges as poor black children. Though the Wall Street Journal seems to believe otherwise, money is arguably the most important element in regard to the quality of education. It is important to note, on the other hand, that money is not the only factor.

Parental involvement, motivation, intelligence, and environment are all major components of the quality of one's education. It is often challenging to provide these things in lower-income neighborhoods. Many parents work two jobs and have to fight against an environment that is not conducive to learning. It is quite difficult to convince a child that he has immense opportunities when his life experiences prove otherwise. In East St. Louis, for example, "Sister Julia point[ed] to the nicest house in sight. The sign on the front read MOTEL. It [was] a whore house." Children growing up in neighborhoods like East St. Louis face this reality every day. Furthermore, many poor parents, especially those in rural communities, lack the resources to fight the inequalities within the schools. To further complicate the issue, as Kusimo argues, "decision-making structures in many rural-communities limit the influence African American parents (especially those with low incomes) can have on educational decisions affecting their children." For this reason, the courts became involved in an effort to desegregate.

The courts have played an instrumental role in the fight against segregation. The 1954 Brown decision set a precedent for the integration of schools, most importantly, the Southern schools. Unfortunately, the U.S. Supreme Court has made a number of recent decisions that, in effect, are resegregating the schools. In Board of Education of Oklahoma v. Dowell, for example, the Supreme Court ruled that "formerly segregated school districts could be released from court-ordered busing once they have taken all 'practicable' steps to eliminate the legacy of segregation." The inexplicit nature of this ruling allows schools to effectively resegregate because of lax guidelines. In addition, there are rulings such as the one in Missouri where the courts contended that Kansas City was only responsible for remedying past discrimination, not current inequities in the schools. With the disappearance of court orders, many teachers are questioning their motives to promote ethnic and racial diversity. As a result, we are quickly moving back towards segregated schools.

There are also those who argue that desegregation is not necessary within districts as much as it is within the school itself. In the past, desegregation was achieved through busing, reassignments of students, and other such measures. Now, it seems that the focus is on achieving equity within the school. It is often challenging, however, to accomplish this when there is not empirical evidence of segregation. As Weiler argues, "Even within desegregated schools, claims persist that segregation still continues under the guise of school tracking and grouping practices." This argument was reaffirmed by Kozol in his observations of the New York schools. In P.S. 24, Kozol observes that the majority of black and Hispanic children are assigned to classes for mentally retarded children. In one such class, there were eleven black children and one white child. The rare presence of a minority in the mainstream class was an Asian child and one or two black children in the upper grades.

Another problem is that in integrated schools, richer parents are often hesitant to concede the higher-quality resources available to their own children in order to equalize. One such school is in an extremely economically diverse neighborhood in California. At Menlo-Atherton High School, more commonly known as M-A, students live west in the wealthy area of Atherton or east in the poorer city of East Palo Alto. In Atherton, homes cost an average of $1,120 per square foot; in East Palo Alto, homes cost $288 per square foot. The diversity is not only economic, but racial as well. Nearly 65% of the students are considered to be of a racial minority.

In 1997, M-A implemented a controversial science program in which all freshman were required to take Advanced Integrated Science. The purpose of this program was to provide a fundamental education in the sciences to all students. Many parents, almost universally from Menlo Park and Atherton, were furious about the new program. They contended that their children's opportunities for college would be severely limited because of this class. In the past, students took Biology, AS Chemistry, AS Physics, and AP Biology in order to get into a "good college." If the students were forced to take AIS, they would be behind their peers at other schools, and therefore, would not be able to compete at the top schools. Many of these same parents were complaining just a year earlier that their children were not getting the proper exposure to other cultures because of the predominantly white upper track.

This problem is not uncommon. People often want social change, in theory, but they forget that the changes that must be made are actual, not theoretical. The underlying cause of many of these problems is people's resistance to change. For nearly 80 percent of America's history thus far, African-American people were legally discriminated against. We are only thirty years past the Civil Rights movement, thus, some old stereotypes persist. The parents of many of today's African-American students were raised in a society that taught them they did not deserve a good home or bathroom let alone an education. Their children have already been harmed by being sent to dilapidated schools. There is tremendous psychological strain, and eventually, children believe that they deserve no better than what they have.

This strain was the fundamental reason for the Brown v. Board of Education decision. In Lower Price Hill, Kozol speaks of a sadness he sees in the elementary school. "The eyes of the children, many of who have white-blond hair and almost all of whom seem rather pale and gaunt, appear depleted too. During several hours in the school I rarely saw a child with a good big smile." This type of widespread sadness has lasting consequences on the morale of the children in this situation. This inequality reinforces the feelings of inferiority many of the children experience.

Though, in theory, it is wonderful to give money to struggling school districts, desegregate the classrooms, reduce class sizes, and improve facilities, few people are willing to take money out of their own pockets to fund such endeavors. For example, per pupil expenditures in the Lake Forest Elementary School District in 1999 were $9350, whereas nearby Waukegan reached expenditures of $6810 per pupil. Lake Forest spends nearly 40% more per pupil than does Waukegan, though it is in the same congressional district. When State Representative, Susan Garrett, proposed that some of the money from Lake Forest be put into Waukegan, people were furious. They were absolutely appalled at the prospect of the changes in the district coming out of their pocket or directly affecting their children.

There is no question that this segregation has lasting effects on children. The academic suffering is most apparent in the so-called 'integrated schools.' In fact, a number of people have pressed charges against school districts contending that the gap in test scores between white children and minorities is evidence of discrimination. One can only speculate on the tremendous psychological damage done by placing all students of a given race in a class labeled as being mentally retarded. Furthermore, this sets up many of the students for ridicule and humiliation that can only serve to reinforce the rampant feelings of inferiority.

Unfortunately, many of the inequalities in America's schools cannot be easily solved. The issue of money, or lack thereof will most likely persist. The segregation within the schools is hard to pinpoint as racial, given the nature of the 'proof' in such cases. A cycle is difficult to break, especially when it is as established as is the case in school discrimination. It is important to remember, however, that many of these are symptoms of a greater problem rather than the problems themselves. Though people of varying cultures and ethnicities have been discriminated against in the past, it is easiest to continue to discriminate against those with physical differences. It is human nature to discriminate, whether by skin color, hair color, or personality. Until society can rid itself of the selfish desire to keep the prestige and stability of years past, it will be impossible to equalize the schools. Unless a majority can embrace change wholeheartedly, the inequalities in school, society, and life will continue.

Forbidden Condition: The Stigma of Mental Illness in American Society

According to a recent study by the American Psychological Association, 20% of American people suffer from some form of a mental disorder. Furthermore, between 50% and 70% of visits to a medical doctor are attributed to psychological factors ("Americans Deserve"). Despite this fact, only 28% of people suffering from a mental disorder seek help. Even more distressing, only 11% receive treatment from a trained professional (Lazar, et al 23). The question then remains, why?

The government has been working towards public awareness of mental health since the mid-1970s. Perhaps the reason for the continued stigma is that old habits are hard to break, and negative perceptions of mental illness date back to ancient times. Even studies conducted in the 1950's found that the mentally ill were "feared, rejected, and devalued" (Phelan et al. 188). Today, 8% of people surveyed reported that those with "troubles" were suffering because it was G-d's will (Martin, et al214). The prejudice towards mental illness is especially prevalent in the news media. This is evidenced by the 1993 Newsweek article, "Healthy Generation Xers will pick up the tab for Prozac-popping boomers." The often sarcastic and trivializing tone the media employs contributes to the persisting stigma (Lazar, et al 26).

People's resistance to seeking help has also been attributed to poor insurance coverage. Though there have been attempts by the Clinton administration to counter this unfortunate trend, these attempts are plagued by some of the same pitfalls as those of the insurance companies. For example, both plans impose session limits and inordinate co-payments for outpatient treatment. The excessive costs of treating a mental disorder often act as powerful deterrents to those seeking help. The combined effects of the financial strain, public ignorance, and the stigmatic practices of the media are why the majority of people with mental disorders suffer in silence.

Though there has been a great deal of effort on the part of the government to educate people about mental illness, it seems we still have a long way to go. Michael Faenza, president and CEO of the National Mental Health Association, concluded in a 1999 web chat that "about half the people in the US [think] that mental disorders are something that will go away if willed strongly enough by people who suffer" (OnHealth, June 1999). This could be why, of the small percentage of people who seek help, the majority do so from friends or other non professional sources (Lazar, et al 23). This trend toward avoidance can be further explained by a survey which found that 70% of participants felt that they were treated as "less competent" once their mental illness was revealed. This seems to be a valid concern; one third of those surveyed were denied health insurance due to their mental illness (Martin, et al209).

Unfortunately, the stigma surrounding mental illness has also had a detrimental effect on children and adolescents. There is a common misconception that children do not suffer from mental disorders; many people feel that the symptoms of mental disorders should not be present in the carefree world of childhood. It is estimated, however, that between 6% and 12% of children and adolescents suffer from depression (Wallace).

The attitude of schools toward students with mental illness is another recent problem. "Many children with mental illness have been denied educational opportunities by school districts reticent to address or pay for multiple services they require" (Scheflen, Giltman). Fortunately, the Supreme Court recently ruled in favor of services for students with disabilities in the landmark case of Cedar Rapids Community School Dist. v. Garret F. Garret Frey, a quadriplegic, required a trained aide to provide him with assistance during school. The Supreme Court ruled that it was the responsibility of the school district to provide this aide because the Individuals with Disabilities Education Act (IDEA) entitles Frey to a "free, appropriate public education." Though the case itself did not deal with mental health issues, the decision was extended to allow those with psychological difficulties to benefit as well (Scheflen, Giltman). This, however, does not alleviate the persistent de jure segregation. The controversy as to what constitutes appropriate care for a mental disability causes many schools to deny care all together. As such, many students are not granted the concessions needed to attend school.

In order to address this concern, the IDEA imposed Section 504. The main purpose of this part of the Act is "to level the playing field." (Rosenfeld). Unfortunately, though Section 504 was enacted nearly twenty-five years ago, it has been ignored until quite recently. Two years after the enactment, demonstrations were held on the steps of the US Department of Health, Education, and Welfare in order to get the government to enforce Section 504. Twenty-three years later, people are still fighting to receive the benefits guaranteed by the IDEA. Even if the statute is enforced, the stigma attached to mental illness still follows, and, as a result, many opt not to use the IDEA to their advantage. There is tremendous concern that the 504 plan would follow a student to college, thus furthering the unnecessary shame and humiliation.

This shame is a serious problem in American society. We lag behind the rest of the world in our acceptance of and care for the mentally ill. According to David Satcher, the US Surgeon General, "[The] United States and South Africa are the only two industrialized countries that don't provide universal health care" (Woznicki, "Surgeon General"). The Clinton administration has made attempts to provide this missing coverage, but critics are quick to point out that "universal coverage does not mean universal care" (Lazar, et al 22).

The Mental Health Parity Act of 1996 (MHPA) was among the first pieces of legislation to address this concern. The main purpose of this Act was to prohibit insurers from placing caps, or spending limits, on mental health that differ from those placed on physical health. Unfortunately, however, there are other factors that limit accessibility to treatment. For example, about half of all insurance companies limit psychologically related inpatient care to between thirty and sixty days per year (APA). Furthermore, many patients run into the problem of medical necessity. This key piece of terminology can be used to deny coverage to a plan member. If a practice is deemed "medically unnecessary" by an insurance company, it will not be covered. This means that, though a plan may say that a member is covered for twenty days, s/he may only be authorized for five (Greene).

The inordinate co-payments required for many mental health treatments cause further concern. Insurance companies have also been known to impose hefty deductibles and session limits. Blue Cross of California requires a $2250 deductible for outpatient psychiatric care and, after that, will only pay $20 a session. On top of this, members are also limited to twenty visits per calendar year (Blue Cross Interview). According to my calculations, if each session costs $100, Blue Cross will pay $400 per year opposite the $3850 paid by the plan member. Note that this does not take into account insurance premiums or the heavy cost of psychoactive drugs. These are only a few of the concerns not adequately covered in the Mental Health Parity Act or the Clinton proposal.

Even so, there are some who wish there was no legislation for this issue at all. In 1996, Maureen O'Haren, executive vice president of the California Association of Health Plans, contended that "If [The Mental Health Parity Bill] were to pass, every employer who buys . . . a state regulated health plan would be forced to pay more for a benefit they may not be able to afford" (Delevett). Her opinion is not unsubstantiated; it would be unreasonable to expect a company to buy an insurance plan, something intending to aid workers, that would actually hurt workers by lowering wages or forfeiting other benefits. There is also some fear that costs would rise to such a level that employers would simply decide not to provide any coverage (Delevett).

Curious about the costs of covering mental health to the same degree as physical health, a number of organizations, such as the American Psychological Association and the National Association for the Mentally Ill, have researched this topic. Almost all studies have found, because of the connection between mental illness and physical illness, limits on mental health coverage increase the cost of insurance on the medical side (Delevett). Furthermore, mental disorders cost the government $129.3 billion a year, $23 billion of which are due to lost work days (APA; Lazar, et al 19). If employers opt for better mental health coverage, the cost of insurance will only rise .16% for the employer (APA ). This miniscule increase is offset by the money saved by the increase in productivity. It is also estimated that if insurance companies do not distinguish between mental and physical disorders, national mental health expenditures will be $5.5 billion lower (APA). One reason for this is that a number of mental health cases not dealt with adequately the first time need to be redressed in the more expensive inpatient setting. Also, the loss in productivity and extensive outpatient care can be quite costly. Despite these facts, there is still a relatively low percentage of companies offering adequate mental health coverage. As of 1993, only 2% of insurance companies provided outpatient coverage and 20% provided inpatient coverage that was comparable to that for medical care (Lazar, et al 23).

The American government has realized that the prevalence of mental illness in today's society is extreme. There have been a number of pieces of legislation hoping to address this problem and possibly prevent the epidemic from continuing. Vice-President Al Gore urged "mental health training for new teachers, [expansion of] current outreach and treatment services, and … the same co-payments and deductibles [for mental-health services as those] used for other health services" (Woznicki, "Gore"). In order to fund the majority of these programs, the Senate and the House passed The Children's Health Act of 2000, a bill Clinton is expected to sign.

With suicide as the third leading cause of death among people aged 15-24, prevention is an especially important consideration (APA). It is also hoped that the efforts toward prevention and education will reduce the growing number of adolescents who suffer from eating disorders and other serious mental illnesses. Anorexia Nervosa alone carries a mortality rate between 5% and 20%, depending on the stage of the disorder (Lazar, et al 19). Furthermore, the National Association for Anorexia Nervosa and Associated Disorders estimated that inpatient care averages at $30,000 a month, often bankrupting families (ANAD). The financial strain of treating a severe mental illness is so great, it often perpetuates the disorder. In effect, it is the same problem we faced with AIDS in the 1980's. Most people cannot fathom what the cost of resistance to AIDS education was. The AIDS epidemic could have been halted years earlier if not for the intractable stand of people fearing uncontrollable sex and homosexuality. The advantages to AIDS education are apparent when one looks at the effect of ignorance in Africa. Though mental disorders do not afflict as much of the population as AIDS does, the stigmas are similar and the ramifications of ignorance are deadly in both cases.

If research shows that 20% of the population suffers from a mental disorder, then why the persistent stigma? The media often perpetuates the public's distorted views of mental illness. "Perhaps the worst and most damaging coverage about mental health flows from the attitudes that mental health needs are neither serious nor important and that psychiatric care represents a middle or upper class self-indulgence" (Lazar, et al 27). Articles pertaining to mental health care, such as Time magazine's "Another Expensive Subsidy for the Middle Class" destroy the already lacking public support for mental-health programs (Lazar, et al 27). The idea that psychiatric care is an indulgence instead of a necessity causes many of those who would otherwise seek help to deny themselves in order to escape the feelings of selfishness. The controversy surrounding the root of mental illness and the resulting stigma rages on in our society.

It is important to remember, however, that there have been amazing strides in the area of mental health. The Mental Health Parity Bill and The Children's Health Act of 2000, among others, offer hope for those suffering from mental illness. The media still lags behind in its coverage of mental illness, but, if the congressional actions take effect, perhaps the efforts toward education will extend to the media as well as the general public. Though, today, mental illness still carries a persistent stigma, with the help of Congress, we can fight to end insurance discrimination and mental illness will no longer have to be a forbidden condition.

Becca
beccaboo_16@yahoo.com
Date Last Modified: 8/3/01

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My Writings

Little Shop of Horrors

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The Audition

The Guru's Tale

Searching in All the Wrong Places

Turkey Day

How to Write a Research Paper if You're a Paranoid Obsessive Compulsive Nut

I. Your Topic

I. A. Choosing a Topic

I. B. Narrowing your topic down

II. The Research

II. A. Primary source: Encyclopedia

II. B. External Sources and Opinions: The Internet

II. C. The Dooméd Place: The Library

II. D. Organizing the Research

III. Writing Your Paper

III. A. Coming Up With a Thesis

III. B. Outlining

III. C. Rough Draft, Proofreading, Final Draft

IV. The Rest of It

IV. A. Bibliography, Footnotes, etc.

The Production of a Play

The Ideal Woman

Love Conquers All

Computer Chips For Lunch The effect of technology on American society

When Perception Does Not Equal Reality

In Pursuit of "Truth"

Savage Inequalities

Forbidden Condition: The Stigma of Mental Illness in American Society

Computer Chips For Lunch
The effect of technology on American society